Sonic Studios™

Making History with DSM™ Stereo-Surround Microphones

Learn about HRTF stereo-surround recording methods & gear

Tips to operate and maintain portable audio recorders

How to optimize the playback listener experience

 
Live Recording Tips
  
 
Deck/Gear Maintenance
  
 
Stereo-Surround Methods
 
 
Deck Model Info/Links/Reviews
  
         
HRTF:

Popular Portable Decks, Reviews, Tips:
Recordings

Recording Tips:
Stereo-Surround Playback:

Types, Methods of HRTF

"Head Related Transfer Function" Baffled Omni Stereo-Surround Mics
Useful Stuff & Fluff:
  DOWNLOAD TIPS PAGE AS A PRINTABLE & WEB BROWSE-ABLE ACROBAT (.PDF) FILE

DSM HRTF HEADMOUNT TIPS

DSM Stereo Mics are Headworn (HRTF Dual-Omni BAFFLED) design pickups to record the best 3-D stereo sound possible. The instruction pamphlet included with every DSM suggests positioning the two pickups forward of the ears to about the temple of a person (or dummy head) but, there’s more to the story.

 

The position the pickups are placed, back towards the ears or forward into the temple area, makes a difference to the perceived higher frequencies on the recording.

Securing DSMPositioning DSM’s closer to the ears will give excellent 3-D headphones reproduction while still retaining very good (much better than in-ear Binaural) loudspeaker reproduction, but...the perception of higher frequency detail is ‘softer’ speaker reproduced than perception encountered with headphones listening.

Alternately, positioning the pickups far forward into the temple area increases the perception of higher frequencies on loudspeakers while still retaining excellent 3-D headphone reproduction!  

Oftentimes it’s how your ear/brain actually perceives that makes all the difference. That’s psycho-acoustics for you!

A better understanding of this phenomenon is simplified by realizing that DSM microphones are positioned at a place where you record the acoustical impression in dimensional acoustic space. Conversely, reproducing the recorded impression involves completing what you started by doing a recording in the first place, namely, completing the action by reproducing the DSM recorded sound exactly from same the place in space!

COMMENT: While person head mounting or using LiteGUY baffle is best for stereo image quality (and a number of other good reasons), some want "max stealth" low profile recording instead, having outfitted a special shirt or jacket with (button-down?) collars to hide the pickups from view underneath the collar front flaps.  

A custom button hole located at the inside rear of the collar allow the pickups + cord threaded from inside to being secured under the collar flaps. Safety pins, gaffer's tape, and a custom made cloth loop may be considered to secure the pickups.  This arrangement must be carefully tested to avoid rubbing noises and blocking the front view of pickups, but will give satisfactory speaker playback recorded results when head mounting is not practical.  

While the stereo image recording quality is significantly diminished with collar mounting, there's some advantage when blocking (or at least reducing) some of the rear/side crowd sounds is desired.

For the best 3-D image fidelity, listen to the DSM recording from wide spaced, precisely angled speakers directed or positioned exactly the opposite (reverse facing, 180 degree) direction of the original live sound recording microphones as suggested below.  

If a DSM recording was made with pickups placed close to the ears, best listening experience is with open type headphones having large 40-50+mm sized diaphragm. Jecklin ‘Float Phones’ electrostatics (at one time sold by MAY AUDIO) and Sony MDR-F1 or CD2000 and newer MDR-SA3000/5000 models are known to reproduce the most natural sounding 3-D and optimum high frequency details (SA5000).

If loudspeaker listening is you main objective, position the DSM pickups further forward of the ears, even centered into the temple area for best high-frequency details perception with loudspeaker playback systems. See Speaker positioning for 2 or more speaker systems that allow for best imaging.

Dolby Pro Logic decoded speaker playback (with 4 or more surround speakers) will give a realistic 360 degree sound image with the rear channel decoding the DSM ambient stereo correctly.

This makes all DAT, MiniDISC, and Camcorder DSM recorded stereo sound virtually identical to the best DVD Movie and DVD audio surround experiences

For more natural sounding listening experience with wider sweet spot seating, Left/Right Stereo Speakers are best positioned set at least as wide apart as the dead center sitting or listening distance is to the (imaginary) connecting line running from left to right speakers.

Angle the speakers inward to focus IN FRONT of the exact center listening position. Playing back regular stereo will sound better with this arrangement and DSM recorded sounds will have a smooth, seamless image that extends beyond the speakers for nearly a 180 degree wide stereo image that sounds good even if seated way off dead center.

FORMATTING OF FLASH CARD MEMORY

  
 

New technology flash card recorders are very convenient in being able to quickly transfer recordings much faster than real-time, and then reuse the memory card.

However, some of the newer digital decks using flash memory are VERY particular on the format structure of this media. It is most wise to ALWAYS REFORMAT flash memory IN THE DECK whenever removing the memory card and placing into a dedicated card reader for file transfer purposes. In-deck reformat avoids 'mysterious' file corruption and deck freezes common with using cards SLIGHTLY changed from the deck's particular standard format during computer card transfer processes.

ALSO very good practice to REFORMAT EVEN IF NOT REMOVED after all recorded files needed have been safely transferred. Just deleting files may leave non-continuous file space on the card. Complete reformat wipes clean all stored files, and insures the deck can fully utilize the space in a continuous fashion. Using a freshly reformatted memory card helps avoid recording errors and deck freeze-up faults.

  

USEFUL TYPES OF FLASH MEMORY FOR AUDIO RECORDING

  
 

New technology flash card recorders are totally immune to most all physical movements and shocks. Shakes and bumps that pose a liability to ruin the recording on MD, DAT tape, or hard drive decks are not a problem with solid state memory flash recorders.

Some hard drive recorders also record to flash, parking the hard drive heads for maximum shock resistance. So it's good practice to use flash for 'gorilla' field recording, later transferring to hard drive when deck is safely at rest.

However, some flash decks using solid state card memory are particular to the SPEED TYPE of flash media used for audio recording purpose.

Very, very fast (some ultra types and other advanced types) cards mostly use a BURST speed rating. This is mechanism useful for fastest transfer of many very small (in comparison to audio file size) digital camera photo files. Flash BURST schemes do nothing good, sometimes work AGAINST smooth, continuous large file audio recording, and is often the cause of audio file interrupts, corrupted files, and deck freeze-up.

Suggest using FAST proven reliable makes/models of cards, like SanDisk Ultra II that actual state continuous write/read speeds, not a burst speed rating. Then you know card has best chance of working for all audio recording purposes.

  
 
CAUTION: MiniDISC Deck, BE IT "NOT MOVED" WHEN RECORDING

ALL small MiniDISC decks are extremely sensitive to skipping, leaving blank disk spaces if bumped or moved a little too much while recording. Severe skipping or blank recorded spaces may make your minidisc jump from playing one track immediately to the next track (if you are lucky to have another) during playback.

Do Not put MiniDisc decks in purses, equipment bags, or pants pockets while recording. Instead, place on a steady and secure (table) surface or HANDHOLD gingerly, keeping all necessary deck movements slow and deliberate.

If you often find yourself standing in an active crowd where getting bumped is the usual, or if you like to be moving around while recording, consider using a DAT deck instead, Mini-DAT's can usually hit the ground without audibly interrupting the recording; noted from personal slippery fingered experience with TCD-D8 on several occasions!

To setup Sony MZ-NH1 HiMD for live music recording with DSM stereo mic suggest the following:

From the MENU, select RECset, and select RECvolume to enter MANUAL REC adjustment mode, and also select MICsens to select SENS LOW; USE ONLY THIS SETTING to avoid distortions and volume pumping with musical bass notes.  Instruction for MANUAL REC mode is on page 38, and setting the mic sensitivity is on page 35 of the owners manual.

ALL MANUAL MIC INPUT RECORDING SETTINGS WILL RESET to full AUTO (Sony's TYPICAL default) when you STOP recording, so with Sony MD, you have to push all the buttons again to gain control for MANUAL REC level and LOW microphone sensitivity SETTING EVERY TIME YOU START UP TO RECORD AGAIN!

Avoid Sony's insanity to fully discourage practical high quality microphone recording in the proper manual REC level mode / low mic input sensitivity.

See Sony's typical MD deck mic recording setup problems for yourself by downloading Sony MZ-NH1 Hi-MD recorder Owners Manual ACROBAT.PDF file HERE

 

The RH910 HiMD model 'seems' to be reversing some of the analog recording problems associated with Sony MD models in general. Ability to transfer original analog .WAV files recordings using USB (for editing?) now appears possible, and is a first for this format, at least without resorting to a hack program. Someone needs to verify .WAV file on the MD deck is also accessible outside of the 'SonicStage' management program to appear like a regular audio file on an external drive as the owner's manual (.pdf) infers.

Manual REC level and MIC input sensitivity adjustment seem less menu-buried on the RH910. Still, REC level cannot be adjusted while recording, and it is unclear if MIC input sensitivity settings are also 'forgotten' along with manual REC level mode when stopping a recording session.

REDUCING INPUT NOISE ON FOSTEX FR2 & MOST NEW TECHNOLOGY (NT) CF & HD PORTABLE DECKS

The good news is the FOSTEX FR2 is easy to operate and fairly well designed with good features and performance.
Powering is an issue with solution using an external battery pack. One powering solution that connects 8 D cell pack using dummy AA cells as described at: EXTERNAL BATTERY SYSTEMS/TIPS

The internal mic preamplifier on the FR2 seems mostly adequate for larger diaphragm, high output 'true balanced' type mics. However, like most NT decks (Edirol-Roland R-1/R-4, Marantz PMD-600 series), the FR2's MIC/LINE balanced inputs are highly susceptible to internal/external noise sources. This is especially true when running on the AC adapter with ANY TYPE of mic input, and if inputting an UNBALANCED lower level mic or unbalanced line source (like from standard configured DSM mics, single ended preamplifiers, and powering adapters). This is due to less than optimized design of most first generation NT portable digital recording decks that includes digital system noise getting into the low level analog signal process, and external electrical noise (AC hum, radio signals) working into the not-yet-refined ground path circuitry of these newer decks.

At least one exception is Sound Devices 722/744T decks and (some) battery powered external microphone preamplifiers with refined very quiet/external-internal noise immune inputs.

SUMMARY: For lowest noise ANALOG recording performance, run deck solely on battery power, and input to these type decks ONLY true BALANCED output MIC/LINE externally connected equipment.

PA-10DXLR5 is a true input/output balanced powering adapter for connector upgraded DSM microphones models. PA-24NJ/X is a balanced output external mic preamplifier suitable for all decks with balanced LINE level inputs.

Avoid making a BLANK DAT or MD Recording !?!

DAT TAPES SELDOM MISLOAD, BUT IT DOES HAPPEN mostly due to a lousy cassette and/or deck's out-of-adjustment transport.

One or a combination of reasons for this to happen certainly disappoints the recordist with blank (MAYBE defective?) cassette tape & used batteries for effort/expense.  Virtually eliminate this by checking the recorder before doing an important recording.  

Do a brief (30 SEC) Test recording before the actual recording; then play back the tape while headphone listening (also best way to check for clean-quiet connections) and/or VU watching for proper (playback) operation.

IF playback is OK, Do Not Eject or Rewind!!..BEST to Push Stop within half of the 30 to 60 second test section, NOT AT or NEAR the END of the test section to avoid time-code gap ....... Then go out and record with reasonable confidence the recorder will work as expected.

MiniDisc (MD):

VERY shock/movement sensitive

As compared to DAT, CF, and HD type decks

The MD portable recording format is easy to use, very practical, and has respectable quality audio. However, the recordist must be far more careful against excessive movement than with DAT, CF, and HD type decks not to record skips or corrupt the TOC.

It is most important to realize that MD has (2)two LIFE-or-DEATH occasions when CRITICAL information is written to make for a good playable disc. DISC INITIATION, when first using a blank, is considerably less fallible than the dreaded Table Of Contents (TOC) error that makes the disc a 'virtual/useless BLANK,' and with all your recordings unreachable!

The TOC is written (at times) when the recording is STOPPED for any reason like to change to a new disk, take a recording break, and all other times intentional or consciously activated by the recordist at the end of recording . So every time the deck has recorded something, and before it shuts off, or if to remove the just recorded disc, a critical TOC track is written. At these known times, the wise recordist is most careful with deck handling until TOC writing is completed. This being the case, it is possible to remember not to move or shake the deck.

HOWEVER, avoiding movement at critical AUTOMATIC deck shutdown caused with LOW batteries is plain luck.

REASON: If the batteries get too low, the deck automatically performs the shutdown by quickly recording the TOC, and then turns off without further notice. Obviously, unless you just happened to be viewing the tiny screen at the time, you are NOT going to know to avoid MD deck movement at TOC critical writing time.

Remember IF the TOC is NOT written correctly, or the TOC gets CORRUPTED for any reason, you will NEVER get to play the disc regardless of any perfectly good recordings locked up inside. Therefore, if on the move with the deck recording, probably a good idea not using batteries in known LOW or questionable charge condition.

DAT Level Knob@#4MOST Mini-portables in use today will overload to cause analog circuit clipping distortion. Indication that mic input stage clipping is likely occurring is when LEVEL adjustment necessitates turning down to #4 or below 30-40% of the adjustment range for seeing VU peak indications -12 dB to -4 dB peaks for most other DAT models.  

LOOK where you have this knob or the up-down button adjustment set. If set < 40% of total REC adjustment maximum, then good chance of MIC input (sometimes also LINE) deck overload, at least until you know better from trying it first.

There are two main types of REC Level Adjustment Displays taking the place of the DAT's #0 to #10 REC LEVEL level knob markings (like shown in the picture above-left)

INSTEAD, most newer digital audio decks indicate the REC LEVEL Adjustment ON THE LCD DISPLAY; usually positioned somewhere BELOW the VU indicator

Some display a RECORD Level Adjustment Left-to-Right reading BAR GRAPH that indicates possible audible input overloads STARTING when the Bar Graph shows about 35-40% of 100% full up. If the REC LEVEL Adjustment bargraph indicates an adjustment is selected below 35% of full up, then input clipping distortion is likely easily audible.

Some decks do not use a bar graph to display where you've set the Manual REC LEVEL. INSTEAD, a series of numbers are displayed on the LCD display.

The series of setting numbers is sometimes in TWO SETS when in MIC input mode (Sharp MD). Displays of #0-#20 indicate the deck is set in "L" Low input sensitivity (equivalent to the 20 DB ATTENuation setting on DAT) and input clipping distortion is unlikely with number settings indicated at #8 or higher out of #20 max, for getting adequate -12 dB VU to 0 dB VU REC signal peak readings.

The second numbered set on the Sharp MD reads #21-#30 indicating the deck is set in the "H" High mic input sensitivity range (equivalent to the 0 DB ATTENuation setting on DAT).

BEST TO AVOID using the #21-#30 "H" range. You are RISKING having input clipping distortion UNLESS VU readings are unable to reach GREATER THAN -14 dB VU with the deck set at #20.

In other words, try to keep maximum recording level input "headroom" by staying in the "L" Low input sensitivity range, UNLESS VU is less than -14 dB peak, then good chance the +20 db "HIGH" boost setting is OK.

   (Suggested TCD-D100/PCM-M1 mic input settings for moderate low-to-loud sounds shown below)

This Low or -20 dB mini switch position is considered normal and best for most moderate-low to very loud sound recording and is the preferred setting even if the LEVEL Knob is needing to be 100% full up maximum to for ~12 dB good VU indication.

On most models, the mic sensitivity input switch actually changes the first stage amplifier gain instead of conventional reduction of mic signal via resistor attenuation network positioned before the mic amplifier.

Sharp MiniDisc decks also reconfigure the gain of the mic preamplifier from low gain to boosted gain when crossing from #0-#20 record level adjustment to #21-#30 record level setting range.

Depending on the output or sensitivity of the microphone being used and how loud the sound recorded is, the L or -20 db Attenuated position MAY NOT lower the signal sufficiently to avoid overloads.  

This is common when using the larger diaphragm (capsule) sized and/or higher output 48 volt phantom powered microphones recording amplified Pop/Rock venues.

In this case there are three options:

1) Use the Attenuation switch (commonly found on the microphone body) or  

2) Install an in-series attenuation network between the microphone and the deck, but NOT between the microphone and it's source of 'Phantom power' (when mic is without an internal battery supply).  

3) Use the LINE input(s) on the deck which have at least -20 dB less gain that mic inputs and are much more resistant to be overdriven with direct Level Knob control(s); exception is the Sony D7/8 decks where the Level Knob does not totally control the line input signal from causing clipping distortion from very high 'Pro mixing board type' inputs.

SUMMARY:

Remember the #0 to #20 or "L" Low mic sensitivity or -20 dB attenuation MIC INPUT mode is the NORMAL setting for these decks.

The other, higher (boosted) gain mode should not be used for quality mic input purposes (maybe best for dictation, lecture/seminar low level recording), UNLESS UNABLE to reach 50% half VU scale or -14 dB VU with loudest momentary peaks.

USE the Line input with large (diaphragm/capsule) MICS (especially 24-48 volt) for moderate-to-VERY-LOUD live events.
INPUT SETTING TIPS ON NON-STOCK DAT DECKS WITH (OADE MOD) LOWERED PREAMP GAIN

In a message dated 11/16/01 6:43:09 AM Pacific Standard Time, txxxxxx@msn.com writes:

<<
I have been 'studying' your recording tips, so I THINK I know what to do for
a quality recording. The only thing I'm afraid of is turning my record
setting ABOVE '4'. I have never had to record above that level, but I'm
hoping your mics will allow me to go above that, to avoid clipping.

Tom Axxxxxx
>>

Hello Tom,

I think you've got this tip totally BACKWARDS. Setting the level knob Below #4 or below (for having VU readings about -12 dB VU) means your mic input to the preamplifier or the input gain is way too much, and the bass is getting clipped even if the VU level shows it is not overloading! Knob settings above #4.5 (to #10 max) means your mic input level (and setting of the 0 dB and 20 dB attenuate switch) is totally OK.

Please reread the http://www.sonicstudios.com/tips.htm page. Also realize that most people with a DSM pop/rock low gain mic USUALLY MUST have the M1 DAT deck in the 20 dB attenuate switch setting for recording amplified club/concert music, and also remember to use only the MANUAL recording mode.

HOWEVER, BECAUSE OADE MODIFIED YOUR DECK TO HAVE LOWER MIC PREAMP GAIN, YOU WILL find the 0 dB attenuate setting IS MORE LIKE THE NORMAL (stock -20 dB deck) SETTING, FOR THIS DECK ONLY. YOU MAY STILL BE OK to use the 20 dB setting for most loud music concert venues and the loudest of club type venues.

HOWEVER, if you CANNOT get the -12 dB VU average reading with having #10 LEVEL KNOB (turned full up) with the 20 dB setting, ONLY THEN USE the 0 dB switch setting, turning the level knob down (but hopeful not below #4.5) to get about 50% VU deflections or -12 dB VU average peak readings.

ALSO READ TAPERS TIPS for more tips on keeping the recording level adjustment appropriate for the music.

IN OTHER WORDS, your deck is NOT STOCK (With having the OADE MOD), so some of the suggestions saying that 20 dB or LOW sensitivity is the normal DOES NOT ALWAYS APPLY TO YOUR CURRENT M1 OADE MODIFIED DECK. So, you may have to boost the mic preamplifier gain to 0 dB setting (which is a NO-NO on a stock DAT deck for recording not so loud Rock/Pop venues), but ONLY if the 20 dB setting gives too little gain/VU levels.

Follow these tips carefully and PRACTICE by going out to record some really loud club type pop/rock music A FEW TIMES. Much better to make your mistakes during practice than mess up during the U2 event. Most large concerts should actually be a bit to alot louder (and cleaner sounding) than most club venues, so using the 20 dB deck setting with nearly full up to #10 level knob is likely the best loud concert recording setting to start with even with having the OADE mod, but please be prepared for big events with having some practice first.


Best Regards,
Leonardo
Maintain Mini-Stereo Jack/Plug Contacts & Strain Relieve Mic Cords
D7 DAT+DSM-6S System

Smaller is Better for some things and not for others.

As portable recording decks, jacks, and plugs get smaller, the need to compensate for less contact area and spring force becomes increasingly important to insure consistent results when recording.   Small decks are dependable as long as the recordist is aware of the limitations; therefore, some important facts about what’s not so robust and problematic about the smaller connection hardware is important to know.

FACT: Mini-stereo contact spring pressure is far less than on 1/4” & XLR type connectors.

RESULT: Fingerprint residue that’s not always wiped off before plugging-in will collect inside the jack, and quickly interfere with signal purity, even generate severe static (mic DC power) noises.

The lighter contact forces of mini-connectors don’t push aside the film coating of grease and grim as do much larger connectors.  Also realize that it’s almost impossible to handle a mini-mic. plug without touching the metal surface, leaving fingerprint residue on the plug that’s deposited into the mic jack with each insertion cycle.  As each insertion continues to add more residue, the contacts reach ‘saturation’ and can no longer push aside this toughening film. Furthermore, contact corrosion from fingerprint salts (like that of sea water) eventually eats up the metal when moisture is present.  This produces slightly audible degradation of the signal quality at best to complete intermittent interruption of delicate mic. Signals and will ruin the recording in the worst case.  

When phantom type power is also supplied to the microphones through the mic. jack (as with external microphone "Plug-in-Power" feature common to portable Video, DAT & MiniDisc decks), highly audible static type noise is the result.  This is especially audible when the microphones plug is only slightly moved by an unsecured mic. cord.

SOLUTION TO MINI-CONNECTOR STATIC NOISE AND INTERMITTENT AUDIO IS AS FOLLOWS:

Clean & recondition noisy mic. jacks with 91 - 99% pure isopropyl alcohol.  Repeatedly insert a headphone type plug soaked to the point of dripping (filling the alcohol bottle cap and dipping only the metal part of the mini-plug works well) into the mic. Jack until any connection noise disappears.  Monitor the progress with a set of headphones while the deck is in a record function.  Rotating the microphones plug should not produce audible noise with cleaned and conditioned contacts.   Applying a contact conditioner to already cleaned plug and jack metal parts (Stereo retailer & Sonic Studios available ProGold

by CAIG Labs works great) once to several times a year will help protect contacts from corrosion/wear and from producing noise for much longer between cleanings.

(Return to Tapers Tips Page)

 

CAUTION IS ADVISED: AVOID PLACING CONTACT CLEANER ON ANYTHING BUT THE METAL CONNECTOR PARTS; Plastics can be softened,  discolored, and even dissolved!  This may actually coat the very metal contacts intended for cleaning!   Fortunately,  deck input jacks are reasonably resistant to alcohol and most ‘plastic safe’ cleaners when used occasionally and with care.

ProGold Products

WARNING: Never spray anything into the jacks on a deck.   Most Minideck jacks are not the enclosed type anymore, but are open, allowing sprays to go where they can cause mechanical problems with the mechanical type transport mechanisms and coat the tape/optical head(s).  Use the method described above with the miniplug, or purchase a special plastic cleaning brush from CAIG or Sonic Studios (a tapered shaver/dental plague cleaning brush may also be used).

Avoiding The Mini Connector Shortcomings For Professional Work:

TCD-D100 & PCM-M1

DAT Deck Tip

D100 Mic Cord Method

Always wipe off the mic plug before plugging-in with a clean cotton cloth (or shirt) or tissue paper. The plug should be mirror-bright-shiny clean before making the connection.

D7 Mic Cord Method

Securing Mic Cord MiniDisc Tip Image

Click for MiniDISC MIC cord securing & General MD recording setup tips

(The photos on the left and far below illustrate the best strategy for Sony DAT, MD, and portable audio hard disk recording decks)

2) Secure the mic cord between the deck and the carrying case, or use Velcro to prevent connection movement noise, spontaneous unplugging, & input jack damaging strains from occurring.

(Right) The input/output cords are both secured with PA-24NJ preamp's integral Velcro tie.

A more permanent smart right-angle mic. cord bend around the deck is best produced by carefully heating the entire bend section (a hair dryer is handy), applying the necessary bend, then let cool before releasing the bend.

The Sharp MD-MT20 minidisc deck has room for just 1 cord securing strap.

Position the 2 Velcro patches (the hook type) as shown to avoid blocking anything important.

Secure the cord with the bridging strap (the loop type) as shown above.

 
PA Adapters are accessory for powering DSM mics and have options of also having "Bass Cut" filters.

The Input Jack to the PA connects to the DSM mic output Plug.

This interface should be kept from disconnection or movement by using one of the two available moveable cord securing straps as illustrated here in the two photo tips.

The PA's output plug is secured to the deck just like the DSM mic plug/cord shown in the previous tips.

Are Gold Plated Connectors Naturally Better?

Gold is plated onto a connectors base metal and is a <5 to ~25 micro-inches very thin to extra thick plating; usually much less than 5 micro-inches is used. It may be surprising to know that Gold is NOT the best conductor of electricity, silver is far better, with copper just behind as the most common materials in use these days.

However, Gold does make a better and more consistent electrical contact because it is corrosion resistant to most everything. But what may really matter the most is what's UNDERNEATH the Gold plating. Gold is very, very soft metal and is easily pushed aside leaving the base metal of the connector to show through in the most used areas, which is exactly the area where the metal-to-metal electrical connection takes place.

Most frequently the underneath base metal on gold plated plugs is BRASS; this looks a lot like the gold plating until it tarnishes and gold plates very easily to the brass metal alloy. In contrast, most NON-Gold plated connectors have a form of nickel plating (over brass) that is also very corrosion resistant, but not as corrosion resistant as gold. However, nickel plating is made thicker than gold and is a much less soft metal; lasts much much longer as a plate for sliding contact purposes.

If the gold plating is really thin (most usual for consumer gear), then using just brass underneath allows the connector to look 'good as gold' in the store, BUT after getting used a bit, the gold plating will wear through to expose brass to corrosion.

Here is the bad news: brass metal surfaces will quickly corrode to having a very, very hard surface skin (acts like anodized aluminum that resist further deep corrosion) that will not conduct electricity.

This leaves you with a far worse connection than most anything you can think of. Mostly leaves you with no connection until something scrapes down hard on the brass to make a good but very temporary connection again. So as the gold wears off, the brass shines through to tarnish; hard to keep from making anything but very inconsistent and mostly poor connections. This is the bad news with these types of gold plated connectors, especially after they get worn from active cycles of plug and unplug use.

The commercial electronics industry also makes use of gold plating for sliding contacts, BUT ONLY after a 15 to 50 micro-inch plating of NICKEL is first laid down on copper (PC circuit boards) or brass/steel (as for quality military/commercial connectors). In this way, as the Gold predictably gets worn away after repeated working, but there is still a good nickel plating metal contact underneath. This dual plating method always insures that some kind of good reliable electrical contact surface remains after years of active service. With Gold plate over nickel, the brass or steel base metals rarely ever wears through the nickel in normal expected use.

So, it is often best NOT to get the gold plated connectors as they more often DO NOT MAKE A GOOD CONNECTION after too short a time of use. Better to get more durable nickel (sometimes made better with silver alloy) types that last far longer and can be cleaned with alcohol easily. Brass does not clean well and needs an abrasive material to scrape down to some newer brass; like using a pencil eraser or extra fine abrasive grit paper.

Why the makers of these connectors do not first plate nickel over the base BEFORE gold is almost a mystery to me, but go to Radio Shack and take a look at all those gold plated connector parts. They all seem just Gold plated over Brass; not good at all. Using Brass as the only base metal seems to look better when using the usual very thin Gold plating; you will buy this quicker than the appearance of thin gold over nickel, it would not be as bright or 'gold looking' I would guess.

If you have gold connectors, then I strongly suggest NOT using anything abrasive to clean them (at least until the gold is worn out in critical places), just use pure 91% isopropyl alcohol on a cloth. I suggest using some ProGold contact conditioner to the cleaned connector to help keep the brass base metal from wearing through the gold very quickly.

Remember, that which is golden is not necessarily the best connector for the long run.

NOTE: Sonic Studios gold plated connectors are a full 25 micro-inches of gold OVER 50 micro-inches of high quality nickel plate; this will always provide long life and reliable connections for many, thousands of cycles and for years of challenging environmental exposure.

A technical sheet on connectors and what happens to gold with and without ProGold treatment is linked to my accessories page at: http://www.sonicstudios.com/access.htm

Recording MUSIC with Bass Filters: Advisory

<< ------------- DAT-Heads Digest Query ----------------- Date: FBI, 21 Jul 2000 18:08:44 -0500

From: " J V "

Subject: Bass filter for older Sonic Studios DSM-6P

I'm looking for a an inline bass roll-off box (preferably with adjustable settings) that will be fully compatible with the Sonics DSM-6 P ( the older hardwired power supply model) , i.e., it can accept a 1/8 inch stereo plug and can plug into the 1/8 inch mic input on my M-1. I understand Marcsounds used to carry something similar to this, are they still around ?

john

>>------------------------------

GuySonic Replies:

IN-Series Bass filters for electret are mostly too specialized to mix and match from different mic models/makes. The unique driving ability or impedance of a particular mic capsule AND the input resistance (Impedance) of the deck's input will greatly effect both the mic's AND the filters performance and quality factors; the parameters are INTERACTIVE.

In other words, mixing is not a good idea in this case for more than one reason and especially if you care about getting specific and quality results without needing to be also extremely lucky.

In specific to John's situation, the suggested solution is to change the hardwired DSM-6P (vintage) version to being up-to-date with current DSM models. This would allow connection to any of the current PA powering + Bass filter models that best fit his particular recording requirement. (SEE PA powering and bass filter adapter chart on page: http://www.sonicstudios.com/pa_x.htm)

The best service now for the updating of older DSM- 6P models is the low cost DSM mic "Refurbishment" service that includes the new model form-factor update + diaphragm clean + new windscreens = mics look and work like a brand-new-one and can be directly powered by portable DAT/MD decks and/or a PA. bass filtering adapter.

AND WHILE ON THIS TOPIC:

It seems that "a bit too much that bass filtering" is an easy thing to do when all you got to do is slide a switch and viola! ........ there's now less bass in the recording.

Microphone BASS Filtering can be a good thing to even up the overall "tone" balance of a recording AND it also gives more analog input or recording "headroom" that helps to enhance the overall resolution of higher frequencies.

In other words, you can turn up the REC level a lot more FOR MIDS AND HIGHS because the strongest (bass) sound component is now at a much lower deck input level. Sometimes it's not that you can do it (reduce the bass content with a filter), but it's really about knowing WHEN and WHEN NOT and HOW MUCH TO reduce bass sounds. If the sound is SO loud that your hearing gets distorted OR if you are prudent in saving your ears with wearing earplugs (especially when right-up close to the stacks), you MAY NOT be HEARING the overall tonal balance of the venue WELL ENOUGH TO MAKING the most appropriate bass filter selection.

Too many recordings I've lately heard seem to error on WAY TOO MUCH BASS FILTERING as to lose most sense of the real "GUT and emotional FEELing" of the music; this is big part of the live sound that I personally find important. However, very "thin sounding recordings" are MORE OFTEN caused by POST BASS Filtering in a digital sound editing (DAW) program than by the use of real-time microphone filtering, but both mechanisms can do equal damage or benefit to a recording DEPENDING.

That's 'Depending' on your own taste in sound preferences and 'depending' on what's the most important aspects of a particular music style. For example; Maybe some Metal Rock styles are most cherished by the majority of their fans for that 'screaming in-you-face' guitar/vocals style that is impossible to hear from being buried in massive bass sounds if played 'straight' on home stereos. Lose most of the bass by filtering and you'll get the "in-your-face" guitar/vocal aspect much easier with regular good quality consumer playback gear. The only problem is it's a bit on the thin sound side of live, but the more important aspects of the music is most accessible to fans.

QUESTION: Would you THINK to strip the 'Gut Thumping Bass' sound out of most REGGAE music?

Well, of course you could, either during the recording with a mic filter OR afterwards with POST in pure digital editing. But, before you do it, please try to remember that a big part of R