See picture below
I could post another picture of those but it would be politically offensive.
They used different model. Much larger bottle. Same capsule, though.I could post another picture of those but it would be politically offensive.
Last edited:
Do you have any idea what size wire you're talking about???
I have a spool of 49awg, I can't even see the wire.
Jn
30 um (49 awg) cannot be fun to work with. I've manually done work with 50 um and just about quit my Ph.D over fussing with it. You had to be in the utmost of caffeine-free zen states before starting the work. Even then, it was work to be done on a weekend or after hours, when no one was there to break focus.
T, these people are not interested in understanding. They find making you look 'incorrect' more satisfying.
Now let's talk about differences between condenser and dynamic mikes. First, condenser mikes can CLIP more easily than condenser mikes. This is because the electronics has a limited amount of voltage to make it work. Only professional calibration microphones use very high voltage supplies to overcome this problem. However, many professional singing quality condenser mikes like Neumann, etc often have a level reducer, or a mike pad, in order to keep the mike from CLIPPING. This is typically a capacitor that is about 9 times the value of the condenser element capacitance. For example 9 times 50pf or 450pf that is put at the output of the mike element and ground. This does keep the microphone from clipping, BUT it adds more second harmonic distortion due to the increase of fixed capacitance to moving capacitance (look at B&K for a more detailed explanation) so there is a tradeoff. Most popular singers for jazz, etc probably would hardly notice the added 2'nd. However, Janis Joplin or an equivalent rock singer would CLIP almost any condenser microphone, and that coupled with the spit problem and other things, a good dynamic microphone is normally used. It will never have as flat a frequency response, and it will have significant bass distortion, but it will not CLIP!. It will just create lower order IM, etc, sort of muffling the sound.
If you want to know whether your microphone can handle a really loud singer, just give it the HOOT test. Yes, get a scope at the output of the microphone, get close to the mike, closing your hand around the mike between your face and the mike, and HOOT! If it doesn't obviously clip on the oscilloscope, it will work OK, (more or less).
Now let's talk about differences between condenser and dynamic mikes. First, condenser mikes can CLIP more easily than condenser mikes. This is because the electronics has a limited amount of voltage to make it work. Only professional calibration microphones use very high voltage supplies to overcome this problem. However, many professional singing quality condenser mikes like Neumann, etc often have a level reducer, or a mike pad, in order to keep the mike from CLIPPING. This is typically a capacitor that is about 9 times the value of the condenser element capacitance. For example 9 times 50pf or 450pf that is put at the output of the mike element and ground. This does keep the microphone from clipping, BUT it adds more second harmonic distortion due to the increase of fixed capacitance to moving capacitance (look at B&K for a more detailed explanation) so there is a tradeoff. Most popular singers for jazz, etc probably would hardly notice the added 2'nd. However, Janis Joplin or an equivalent rock singer would CLIP almost any condenser microphone, and that coupled with the spit problem and other things, a good dynamic microphone is normally used. It will never have as flat a frequency response, and it will have significant bass distortion, but it will not CLIP!. It will just create lower order IM, etc, sort of muffling the sound.
If you want to know whether your microphone can handle a really loud singer, just give it the HOOT test. Yes, get a scope at the output of the microphone, get close to the mike, closing your hand around the mike between your face and the mike, and HOOT! If it doesn't obviously clip on the oscilloscope, it will work OK, (more or less).
Last edited:
John this is not helping we are not talking about getting even close to the SPL limits of good mics, and in fact you are actually telling Mr. T he is wrong ironic.
I would hate your guts if not for the fact that you are right!!
Sadly, you are.
Luckily, for working on some clock and watch movements, I have a zoom stereoscope that goes to either 40 or 70 power, I get mixed up between the ones at work and mine at home.
But as Daniel says, no coffee on the mornings I use the scope for fine work.
I'm gonna take some tweets apart just to see what's under the hood.
Jn
You give the singer a dynamic mic on a stand and tell them to sing into it, then you hang an LD condenser up in the air, above and behind the dynamic mic where it won't get too much SPL, spit, or plosive popping, and aim it down at the singer's mouth. When it comes time to mix, you may not use the dynamic mic at all. Depends how the singer's voice sounds with what you tracked. Hopefully, you did some testing first to make sure it was very likely to work as intended.
Last edited:
I know what i was talking about: Yesterday, I tried to saw a black leather cover with a black sewing thread on my steering wheel.
I think I had depleted all the swearings of the French language, yet rich in this matter.
YouTube
Plus the fact that it seems the unique vocation of the threads is to wrap everywhere, to make incredible knots and to prevent you from doing any when you need.
I just put a grandmother clock together, I had to buy some 2.5mm/.4 screws to lock a gear to a shaft, one was missing. Measured one, it was exactly 2.5mm, replacements from McMaster Carr, 2.36mm. Right pitch, but what the heck?
I mean, they'll work, but I can't go too tight or I'll end up pulling the 3mm tap outa the box.
Long threads, what a pita. Seems every time you pull the length through, the natural twist of the thread causes the thread to spin a bit, so you constantly fight the thread.
French cursing.....the Merovingian.
But his wife, that natural latex....is it getting hot in here?
Jn
Back to topic
Tomorrow I'll grab three or four tweeters, I think they are 3/4 domes. I'll pull one or two apart, see if I could wind a pickup half coil on it.
That would be interstitial on one layer. To use it properly, I would ground one end, put the other into a summing node at gain of 2, subtract it from the drive coil voltage, output being the effective diff.
Plus, a tweeter really doesn't need tinsel.
Jn
Tomorrow I'll grab three or four tweeters, I think they are 3/4 domes. I'll pull one or two apart, see if I could wind a pickup half coil on it.
That would be interstitial on one layer. To use it properly, I would ground one end, put the other into a summing node at gain of 2, subtract it from the drive coil voltage, output being the effective diff.
Plus, a tweeter really doesn't need tinsel.
Jn
Some tweeters are designed to have the domes easily replaced, others not so much. The gap may be larger to make assembly easier, however you may encounter ferrofluid. Not sure how that will affect your measurements. On tweeters the leadouts are usually glued to the surround.
The chicken and the egg. Measuring speakers with microphones, ... and mics with speakers ?
Since StarTrek, I know distortion is everywhere. Even in the continuum.
Last edited:
- Status
- Not open for further replies.