I hope this is the right section for this topic: I'd like to be able to estimate the maximum SPL encountered by a microphone at a rock concert. The purpose is to estimate the maximum output from a microphone with a known sensitivity.
Figures cited for the sound level at a rock concert vary from 110 to 130 dB. This is really a huge range. Besides, it may not represent the SPL on a microphone diaphragm, with the lead vocalist screaming into it in addition to the background music. And then there are the mikes used to pick up instrument sounds.
If we take 120 dB as the maximum sound level in the audience, what level in dB or Pa can be expected on the mics themselves?
Figures cited for the sound level at a rock concert vary from 110 to 130 dB. This is really a huge range. Besides, it may not represent the SPL on a microphone diaphragm, with the lead vocalist screaming into it in addition to the background music. And then there are the mikes used to pick up instrument sounds.
If we take 120 dB as the maximum sound level in the audience, what level in dB or Pa can be expected on the mics themselves?
There are too many variable in your question to even hazard a guess.
Most experienced Sound Engineers use a gain control to set the desired line level before mixing.
Shure SM57 is the industry standard instrument microphone, the AKG D10 or D110 is the industry standard drum microphone and Shure Beta 58/97 for vocals.
The maximum SPL the diaphragms will stand, is published on the specification sheet for each type of microphone. If exceeded, all that happens is bottoming of the diaphragm. I have had good results from condenser elements for drums.
Most experienced Sound Engineers use a gain control to set the desired line level before mixing.
Shure SM57 is the industry standard instrument microphone, the AKG D10 or D110 is the industry standard drum microphone and Shure Beta 58/97 for vocals.
The maximum SPL the diaphragms will stand, is published on the specification sheet for each type of microphone. If exceeded, all that happens is bottoming of the diaphragm. I have had good results from condenser elements for drums.
Agree and add; test it yourself.
No kidding.
Get a "Rock Standard" microphone, such as those mentioned above, I personally favour Shure SM58 (of which I still have a lot) or its heir Beta 58, worst case borrow or rent one, hook it to a simple unbalanced 10X to 100X gain preamp, a single OpAmp is fine, and **scream** into it while holding it against your lips.
Even better, get a "loud" friend, even better a singer, to test it.
Also put it in a hole in a kick drum drumhead and let a Rock drummer loose.
In both cases measure RMS and Peak voltage output.
Way better than any estimation.
If designing a PA or recording mixer channel, be certain to not only add variable gain, but also an input (before any Electronics is involved) -20dB pad, which you can pushbutton insert if necessary.
Also add clipping indication Leds at the very first stage.
No kidding.
Get a "Rock Standard" microphone, such as those mentioned above, I personally favour Shure SM58 (of which I still have a lot) or its heir Beta 58, worst case borrow or rent one, hook it to a simple unbalanced 10X to 100X gain preamp, a single OpAmp is fine, and **scream** into it while holding it against your lips.
Even better, get a "loud" friend, even better a singer, to test it.
Also put it in a hole in a kick drum drumhead and let a Rock drummer loose.
In both cases measure RMS and Peak voltage output.
Way better than any estimation.
If designing a PA or recording mixer channel, be certain to not only add variable gain, but also an input (before any Electronics is involved) -20dB pad, which you can pushbutton insert if necessary.
Also add clipping indication Leds at the very first stage.
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