Analysis and Design of a Microphone Preamplifier for Mobile Applications
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Tools for Digital Audio Recording in Qualitative Research
Sociology at Surrey University of Surrey social researchUPDATE • The technology needed to make digital recordings of interviews and meetings for the purpose of qualitative research is described. • The advantages of using digital audio technology are outlined. • The technical background needed to make an informed choice of technology is summarised. • The Update concludes with brief evaluations of the types of audio recorder currently available. Tools for Digital Audio Recording in Qualitative Research Alan Stockdale In a recent book Michael Patton writes, “As a naïveté, can heighten the sense of “being Dr. Stockdaleʼs training is in good hammer is essential to fine carpentry, there”. For discussion of the naturalization cultural anthropology. He is a a good tape recorder is indispensable to of audio recordings in qualitative research, senior research associate at fine fieldwork” (Patton 2002: 380). He see Ashmore and Reed (2000). Education Development Center goes on to cite an example of transcribers in Boston, Massachusetts, at one university who estimated that 20% Why digital? of the tapes given to them “were so badly where he currently serves Audio Quality as an investigator on several recorded as to be impossible to transcribe The recording process used to make genetics education research accurately – or at all.” Surprisingly there analogue recordings using cassette tape is remarkably little discussion of tools and introduces noise, particularly tape hiss. projects funded by the U.S. techniques for recording interviews in the Noise can drown out softly spoken words National Institutes of Health. qualitative research literature (but see, for and makes transcription of normal speech example, Modaff and Modaff 2000). -
How to Tape-Record Primate Vocalisations Version June 2001
How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates. -
GML 2032 Microphone Preamplifier / Parametric Equalizer
G e o r g e M a s s e n b u r g L a b s GML 2032 Microphone Preamplifier / Parametric Equalizer The Model 2032 Microphone Preamplifier / Parametric Equalizer is a single-channel, multi-input device for high-resolution studio and remote applications. Incorporating the renowned 8300 preamplifier and reference-standard 8200 equalizer, the Model 2032 inherits over thirty years of GML engineering excellence. This transparent class-A discrete design with internal supply delivers reliability, musicality, and precision. Owner's Manual Version 1.0 August, 2004 All materials herein © George Massenburg Labs, LLC. GML, LLC. Franklin, TN USA 615.790.9946 (ph) www.massenburg.com INTRODUCTION Combining the features of the GML flagship 8200 Parametric Equalizer and 8300 Transformerless Microphone Preamplifier, the Model 2032 embodies the legendary detail and accuracy for which GML is renowned. The power and functionality of these revolutionary processors is further coupled with the addition of a front panel musical instrument input, two position high-pass filter, front panel phantom and phase switching, and flexible routing options while maintaining the GML standard of performance and transparency. These advanced circuits, envisioned by George Massenburg, have benefited from over 30 years of research, limited manufacturing, critical listening analysis, widespread usage by demanding industry professionals, and continuous evaluation by the GML Engineering Department. FEATURES The GML Model 2032 Microphone Preamplifier / Parametric Equalizer derives its -
USB Recording Microphone
FEATURES USING YOUR MICROPHONE Adjusting your microphone’s angle Front Position yourself 1.5 ft. (0.46 m) in front of the microphone with the Insignia Loosen the adjustment knobs to move the microphone to the position you Microphone: want, then retighten the knobs to secure. Captures audio. logo and mute button facing you. Mute button/Status LED: QUICK SETUP GUIDE Lights blue when connected to power. Lights red when muted. Adjustment knob USB Recording 1.5 ft. (0.46 m) Micro USB port: Tilt adjustment knobs: Attaching to a microphone stand Microphone Connect your USB cable (included) Adjust your microphone’s tilt angle. Your microphone’s cardioid recording pattern captures audio primarily from the 1 Unscrew the desk stand’s adjustment knob to remove the microphone. from this port to your computer. front of the microphone. This is ideal for recording podcasts, livestreams, NS-CBM19 Desk stand: voiceovers, or a single instrument or voice. Desk stand Holds your microphone. adjustment knob PACKAGE CONTENTS Side • Microphone • Desk stand Microphone 2 Screw the microphone onto a stand that has a 1/4" threaded adapter. • USB cable • Quick Setup Guide Desk stand adjustment knob Mounting hole: SYSTEM REQUIREMENTS Attaches the microphone Remove the desktop stand to screw Cardioid Windows 10®, Windows 8®, Windows 7®, or Mac OS X 10.4.11 or later to the stand. onto any ¼" threaded stand. recording pattern Mounting hole Before using your new product, please read these instructions to prevent any damage. SETTING UP YOUR MICROPHONE SETTING THE VOLUME The microphone is picking up background noise determined by turning the equipment off and on, the user is encouraged to try to correct the interference by Connecting to your computer Use your computer’s system settings or recording software to adjust the • This cardioid microphone picks up audio from the front and minimizes noise one or more of the following measures: Connect the USB cable (included) from your microphone to your computer. -
Universal Audio 4-710D User Guide
Model 4-710d Four-Channel Tone-Blending Mic Preamplifier Universal Audio Part Number 65-00051 Revision A Universal Audio, Inc. Customer Service & Tech Support: +1-877-MY-UAUDIO Business, Sales & Marketing: +1-866-UAD-1176 www.uaudio.com Notices This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Model 4-710d. Disclaimer The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2011 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks 4-710d, 710, Twin-Finity, 4110, 8110, SOLO/110, SOLO/610, 2-610, LA-610, LA-2A, 2-LA2, LA-3A, 6176, 1176LN, 2-1176, 2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned herein are trademarks of their respective companies FCC Compliance This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) the device must accept any interference received, including interference that may cause undesired operation. -
Model ST-PH1 Phono Preamplifier
® STICK-ON SERIES Model ST-PH1 Phono Preamplifier ANYWHERE YOU NEED A... · Stereo or Mono Phono Preamplifier. · Preamplifier with Balanced or Unbalanced Output · Preamplifier with Hi or Low-Impedance Output · Accurate, Low Noise Preamplification You Need The ST-PH1! The ST-PH1 is part of a group of products in the STICK-ON series from Radio Design Labs. The durable bottom adhesive permits quick, permanent or removable mounting nearly anywhere or it may be used with RDL’s STR-19A or STR-19B racking adapter for rack mounting! The ST-PH1 gives you the advantages of a high quality, low-noise phono preamplifier with a big plus, you can put it where you need it! The ST-PH1 is a stereophonic phono preamplifier. Each of the channel circuits is identical. The ST-PH1 has standard 47 kW impedance unbalanced phono cartridge inputs. Each output drives either a balanced or unbalanced line. Equalization follows the RIAA curve. The output is capable of driving into either high or low impedance loads. The output may be connected either balanced or unbalanced. The ST-PH1 features superior circuitry, which produces the unsurpassed pure clarity for which Radio Design Labs products are known! Some features are: · Input matched to standard cartridges used in the industry. · Impeccable audio quality. · Ultra-low distortion and noise. · Output levels adjustable (Independent adjustment for left and right channels). · Ample headroom at operating level. · Outputs short circuit protected. · Positive connections via barrier block, no audio connectors to wire. Although some equipment has phono inputs, optimum system performance is obtained when phonographs are preamplified as close to the turntable as possible, and then the line level signals are fed to the next piece of equipment in the chain. -
ACCESS for Ells 2.0 Headset Specifications
ACCESS for ELLs 2.0 Headset Specifications The table below outlines features for headsets and recording devices and WIDA’s rationale in recommending those features. Please note that WIDA does not endorse specific brands or devices. Recommended Reason for Recommendation Alternatives not Features Recommended Device: Allows for recording and playback using Separate headphones and Headset the same device. microphone increase the need to ensure proper connection and setup on the computer and thus complicate the testing site set-up. Headset Design: Comfortable when worn for a longer In ear headphones (ear buds) that Over Ear period of time by students of different are placed directly in the ear canal Headphones ages. Weight and size of headphones are more difficult to clean between can be selected based on students’ age. uses by different students. They are Portable headphones are smaller and also not suitable for younger lighter and hence may be suitable for students. Many ear buds come with younger students. Deluxe headphones the microphone attached to the are larger and heavier but have the cord, making capturing the advantage of canceling out more noise. students’ voice more of a challenge. Play Back Mode: The sound files of the assessment are Stereo recorded and played back in stereo. Noise Cancellation Noise cancellation often does not Many headsets with a noise Feature: cancel out the sound of human voices. cancellation feature require a power source (e.g. batteries or USB None connection) and hence complicate the testing site set-up. Type of Connector Some computers have two ports for Many USB-connected headsets Plug: connecting audio-out and audio-in require driver installation, but • Single 3.5 mm separately, while others have one port perform adequately for audio plug (TRRS) for both. -
V55 Di-Re-Preamplifier Loud Or Excessive Clicks Or Pops
AVALON V55 QUICK SET-UP OPERATING GUIDE PHASE (switch) BOOST (+dB) TONE (shape) HI (switch) Reverses the polarity of Trims input gain Ten postion Passive HIGH ALL (3) input sources Line : -2dB to +38dB Passive Tone Bank™ cut filter Instrument : +2dB to +42dB 1-6 for music contour -3dB @ 3.7kHz SIGNAL Mic HiZ : +20dB to +60dB High pass filters eliminates noise Mic LoZ : +26dB to +66dB HF lift ~ LF cut and fret buzz Peak capture (scale calibrated for Mic LoZ) (see graphs) Bi-color LED Blue = 0dB POWER Red = +20dB Bi-color LED Blue = AC ON Red = +48v ON PAD (switch) Resistive attenuator for ALL (3) inputs TONE (switch) Line : -13dB Activates the Instrument : -10dB Passive Tone Bank™ Microphone : -15dB INPUT MODE INSTRUMENT V55 Dual Channel DI-RE-PREAMPLIFIER Selects INPUT source 1/4” unbalanced Line : XLR~1/4” TRS jack RTS phone jack METER Instrument : 1/4” TRS jack (front) 10 meg.ohm high-Z Professional VU meter Microphone HiZ & LoZ : XLR ideal for keyboards, -30dB to +18dB wide scale Mic LoZ + 48v phantom power ON synthesizers, drum machines, 0VU = 0dB = 0.775v RMS passive & active acoustic, V55 WHEN SWITCHING FROM LO-Z MIC INPUT TO bass and electric guitars LO-Z +48V (PHANTOM POWER) INPUT, ALWAYS MAKE SURE THE BOOST CONTROL Note: For best sonic performance, IS SET TO THE MINIMUM GAIN POSITION allow thirty minutes for warm-up. AND REDUCE MONITOR LEVEL TO AVOID V55 DI-RE-PREAMPLIFIER LOUD OR EXCESSIVE CLICKS OR POPS. www.avalondesign.com Avalon Design is a division of Avalon Industries, Inc. -
Productcatalog
PRODUCTCATALOG We supply sound, not equipment. www.toaelectronics.com Life SafetyLife Intercom Life Safety 06 VM-3000 Series Integrated Voice Evacuation System 07 VM-3000 Series Integrated Voice Evacuation System Optional Accessories 10 SX-2000 Series Audio Management System 10 SX-2000 Series Audio Management System Optional Accessories 14 SX-2000 Series Audio Management System Modules 16 Mass Notification and Fire/Voice System Speaker Certifications Intercom 20 N-SP80 SIP Intercom Series 28 N-8000 Series Exchanges and Interface Units 22 N-8000 Series SIP Gateway 30 N-8000 Series 2-Core Shielded Cable Type 23 N-8000 Series IP Master Stations 32 N-8000 Series 4-Wire Cable Type 24 N-8000 Series IP Door Stations 33 N-8000 Series Optional Accessories 25 N-8000 Series 2-Wire Master Stations 34 N-8000 Series Station Selection Chart 27 N-8000 Series 2-Wire Type Stations 35 N-8000 Series System Overview Network Network Network Audio 38 Audio NX-300 System 40 NX-100 System 42 Digital Message Repeaters 44 Program Timer 44 Synthesized AM/FM Tuner Amplifiers SpeakersAmplifiers & DSP Mixers 46 A-5000 Series Digital Mixer Amplifiers 56 9000 Series Modular Digital Matrix Mixer Remote Control 74 A-2240 Mixer Power Amplifier 47 MA-725F Digital Matrix Mixer Amplifier Modules 75 BG-200 Series PA Amplifiers 48 BG-2240D Class D Mixer/Amplifier 58 9000 Series Modular Digital Matrix Mixer Speaker Selectors 76 BA-200 Series PA Amplifiers 49 Digital Power Amplifiers 60 900 Series Amplifiers 77 CA Series Mobile Mixer Amplifiers 50 Digital Micro Amplifiers 63 900 -
Twin-Servo™ Microphone Preamplifier
RADIAL 500 SERIES smart sheet TWIN-SERVO™ MICROPHONE PREAMPLIFIER Order No. R700 0111 10 The Jensen Twin-Servo™ utilizes Deane Jensen’s iconic 990 op-amp design to deliver the most exceptional mic preamp built in the 500 series format. The circuitry boasts two 100% discrete 990 op-amps cascaded in tandem to deliver 60dB of gain, with incredibly low noise and phase distortion, and an ultra-wide 0.2Hz-150kHz frequency response. Jensen input and output transformers provide massive amounts of headroom, with clean and transparent operation suitable for the most critical recording applications. A 21-detent gain control makes for easy session recalls, with a 10-segment LED meter for accurate signal management. 48V phantom power, a 180° polarity reverse, high-pass fi lter and -15dB pad are also provided, all with individual LED indicators to verify settings at a glance. When it comes to high performance mic preamps, nothing beats the Jensen Twin-Servo. OMNIPORT - When used with a Radial Workhorse power rack the omniport is assigned as a unbalanced 220K ohm instrument input. FEATURES 10 SEGMENT METER - Custom designed circuit for greater VU meter accuracy. • Ultra-low noise preamp with over 60dB of gain • Built in high-pass fi lter and 180° polarity reverse DUAL-GANG POT - Simultaneously controls the dual 990 op- amp topology for optimal gain at all levels. • Dual Jensen transformers for maximum head- room 180° - Inverts pins 2 and 3 at the output to help phase align microphones when two channels are in stereo use. APPLICATIONS HPF - Gentle high-pass fi lter may be inserted into the signal • Perfect for recording any source path to reduce excessive low frequency content and control • Transparent and detailed operation resonance. -
THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M
THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development. -
An Improved Microphone Preamplifier Integrated Circuit
AN IMPROVED MICROPHONE PREAMPLIFIER INTEGRATED CIRCUIT FRED FLORU THAT Corporation, Milford, MA, USA The influence of the semiconductor process on the performance of a microphone preamplifier integrated circuit is described. Examples of active devices available in conventional junction isolated and newer complementary bipolar technologies are shown. The availability of such devices influences the electrical design and its complexity. The traditional microphone preamplifier topology is discussed. A new preamplifier gain structure, that extends the dynamic range by lowering the noise floor, is considered and its benefits are demonstrated. 0 INTRODUCTION 1 FABRICATION PROCESS The dynamic range required by audio professional The most common semiconductor processes for applications keeps getting larger and larger In order to professional audio ICs are Junction Isolated (JI) bipolar, keep up with the demand, the integrated circuits Dielectric Isolated (DI) bipolar and Complementary dedicated to such applications are manufactured in new Metal Oxide Silicon (CMOS). There are no high and improved semiconductor processes. The dynamic quality preamplifiers made in CMOS process. CMOS range definition is the ratio between the maximum is primarily used for ADCs, DACs and rail-to-rail signal level that can be handled by the device and the operational amplifiers intended for low voltage noise floor. The maximum signal level that can be applications. The technology of choice for microphone processed is for most designs a function of the preamplifiers has been JI bipolar. The microphone maximum power supply voltag~ allowed by the device. preamplifier described in this paper is developed in a Microphone preamplifiers, line receivers, line drivers, new complementary-bipolar DI process.