500 RACK / EQ ONE , MICPRE ONE, MID-SIDE ONE by Total Audio Control
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sahib
Well-known member
Hi Ian,
Although I already replied by e-mail I'll record here again.
You are probably meaning by component matching and the simple answer to it is no.
In terms of level matching the gain switches will track well as the resistors are 1%. Then you trim with the faders to the meters.
Although I already replied by e-mail I'll record here again.
You are probably meaning by component matching and the simple answer to it is no.
In terms of level matching the gain switches will track well as the resistors are 1%. Then you trim with the faders to the meters.
Spiritworks
Well-known member
Any plans for a Compressor kit to match?
kante1603
Well-known member
kante1603
Well-known member
sahib
Well-known member
Excellent stuff Udo.
@Spiritworks.
Compressor is at design stage and will be ready in Spring.
@Spiritworks.
Compressor is at design stage and will be ready in Spring.
kante1603
Well-known member
Hello all,
yesterday I had the opportunity to have my MicPre Ones on a recording session at my work.
We're doing a CD for our musical master class atm and started recording all of the music.
Lots of it consists of adaptions on Henry Purcell's tunes.In this case I took them for piano.
We only had a Yamaha baby grand available that sounds quite a bit "muddy" compared to others in our house.
I used a matched Schoeps pair (CMC6 with cardioid capsule).After setting them up in small A/B technique I didn't get enough attack and open sound-because of the piano itself of course.So I altered the mics to X/Y and placed them closer I'd say 50cm behind/over the hammers close to the open lid.
Bamm!Brilliance came back nearly as I wanted as well as some attack sounds.
I had the mics split into another pair of excellent preamps as well.
Today I made a rough mix in the studio and must say that in nearly all recordings the MicPre Ones made the piano sit in the mix better than the other amps.There was also enough "meat" to do a slight wide boost in the area around 10kHz ("ping" of the hammers and "clarity").
Very very nice indeed!
It never sounded clinical or cold but wide open,dynamic,fast responding and created lots of depth.
I would highly recommend these preamps for nearly any kind of accoustic instruments in both modern pop as classic recordings.
Also they seem to be very cool on ambient stuff or room miking.
In a few weeks I will have a wonderful female singer for one of those recordings (pop adaption on "music for a while").
I'll give it a try and use them on her vocals then!Also on a counter tenor voice soon,who knows!
Really great tools,versatile with tons of possibilities (Hi-Z input,cool monitor and split features,hpf,switchable impedance etc.).
Get them when you can,they're hot!!!
Best regards and happy recording,
Udo.
yesterday I had the opportunity to have my MicPre Ones on a recording session at my work.
We're doing a CD for our musical master class atm and started recording all of the music.
Lots of it consists of adaptions on Henry Purcell's tunes.In this case I took them for piano.
We only had a Yamaha baby grand available that sounds quite a bit "muddy" compared to others in our house.
I used a matched Schoeps pair (CMC6 with cardioid capsule).After setting them up in small A/B technique I didn't get enough attack and open sound-because of the piano itself of course.So I altered the mics to X/Y and placed them closer I'd say 50cm behind/over the hammers close to the open lid.
Bamm!Brilliance came back nearly as I wanted as well as some attack sounds.
I had the mics split into another pair of excellent preamps as well.
Today I made a rough mix in the studio and must say that in nearly all recordings the MicPre Ones made the piano sit in the mix better than the other amps.There was also enough "meat" to do a slight wide boost in the area around 10kHz ("ping" of the hammers and "clarity").
Very very nice indeed!
It never sounded clinical or cold but wide open,dynamic,fast responding and created lots of depth.
I would highly recommend these preamps for nearly any kind of accoustic instruments in both modern pop as classic recordings.
Also they seem to be very cool on ambient stuff or room miking.
In a few weeks I will have a wonderful female singer for one of those recordings (pop adaption on "music for a while").
I'll give it a try and use them on her vocals then!Also on a counter tenor voice soon,who knows!
Really great tools,versatile with tons of possibilities (Hi-Z input,cool monitor and split features,hpf,switchable impedance etc.).
Get them when you can,they're hot!!!
Best regards and happy recording,
Udo.
eastwinds
Member
- Joined
- Jul 25, 2013
- Messages
- 23
nice one Udo. 
i've been using the mic pre one a lot on ribbin mic recordings for my woodwinds to great effect, lots of clean gain. sounding great on acoustic guitar also.
how are things progressing with the CMRR/SYMMETRY trimming kit Sahib? it'll be autumn soon and i'll be switching my soldering iron on again
Ian
i've been using the mic pre one a lot on ribbin mic recordings for my woodwinds to great effect, lots of clean gain. sounding great on acoustic guitar also.
how are things progressing with the CMRR/SYMMETRY trimming kit Sahib? it'll be autumn soon and i'll be switching my soldering iron on again
Ian
sahib
Well-known member
eastwinds said:
Hi Ian,
The boards have just arrived, The picture of the finished prototype is attached. I am literally in the process of revising the BOM and working out the kit price.
It interfaces with the free version of TrueRTA https://www.trueaudio.com/rta_down.htm
It can also be used manually with an external signal generator and AC milivoltmeter.
Attachments
Spiritworks
Well-known member
sahib said:
sahib
Well-known member
My apologies. Amended the postnow.
It is for CMRR and SYMMETRY trimming of 500 modules.
I will soon be posting it with application examples in the Chamber.
It is for CMRR and SYMMETRY trimming of 500 modules.
I will soon be posting it with application examples in the Chamber.
kante1603
Well-known member
Update:kante1603 said:
Two days ago I recorded the before mentioned counter tenor.
We did "come again"(J.Dowland) and "the dark is my delight" as adaptions.
Setup was U87Ai to MicPre One directly into PT via RME FF800 (line in).
Mic distance was about 1m,slightly sideways to give the singer a chance to move a bit,he does huge gestures while singing for concentration and "body tension"(I hope the words are right,I'm german,sorry...).
MicPre One transports all of this!
Again wide open sounding,his voice seemed to fly.
I missed really nothing,even thought I "see" him with my ears and felt the smallest changes in his mood.
Can't explain it better.
My favourite preamps for this kind of music and instruments now (...and I have lots to choose from).
Excellent.
Udo.
Finished 2 EQ ones, sound great more details here http://groupdiy.com/index.php?topic=53044.msg731071#msg731071
sahib
Well-known member
Now also available in Black. Please see the first post.
The web site is now open with on line shopping facility.
The web site is now open with on line shopping facility.
sahib
Well-known member
Hi Ian,
Very modest figure for existing users. Please drop me a mail and I'll fix you up.
Very modest figure for existing users. Please drop me a mail and I'll fix you up.
sahib
Well-known member
Hi Ian,
Card is ready. I am preparing to launch a number of kits this week including this one. So I am a bit snowed under with preparing the documentation but I can send you one with the Black front panel/knobs.
However, here is the introductory info.
"
The card is for carrying out tests using an unbalanced source and measuring instrument.
The signal source may be from a generator or computer. A sine wave signal is recommended.
The measuring instrument could be a DVM, level meter, oscilloscope or computer.
If a computer is to be used it is recommended to use software from True Audio or similar.
http://www.trueaudio.com/rta_abt1.htm - the free version is sufficient to carry out the tests.
If a DVM is to be used it must be capable of measuring high frequency low level signals in order to carry out Symmetry and CMRR adjustments.
The inputs and outputs of the module under test remain connected to the rear connectors when the jig is inserted in the extender led. It is highly recommended that all connections are disconnected from the rack that relate to the module position under test. This includes multiway connections. This will eliminate the effects of loading by cable or external equipment.
There are special cases where these connections may be made and these are discussed later in the text.
The jig places a load of 600 ohms on the module output. This the normal load applied when testing professional audio equipment because it can create worst case output swing and THD conditions.
PHONO connectors are provided for connection to test equipment and/or computer. These are unbalanced connections and the two INPUT sockets are wired in parallel as are the OUTPUT sockets.
Top sockets are for the connection of a signal generator.
Bottom sockets are to the measuring equipment – DVM/oscilloscope/computer.
Additionally test points are provided for each of these lines.
A balanced standard jack plug allows for a balanced feed to be produced from the unbalanced PHONO input. This feeds the PHASE and CMRR test circuitry which is situated before the jack output and can therefore be used to test other equipment or systems.
Similarly, a balanced standard jack plug allows for an external balanced feed to be connected to the measuring equipment. "
Card is ready. I am preparing to launch a number of kits this week including this one. So I am a bit snowed under with preparing the documentation but I can send you one with the Black front panel/knobs.
However, here is the introductory info.
"
The card is for carrying out tests using an unbalanced source and measuring instrument.
The signal source may be from a generator or computer. A sine wave signal is recommended.
The measuring instrument could be a DVM, level meter, oscilloscope or computer.
If a computer is to be used it is recommended to use software from True Audio or similar.
http://www.trueaudio.com/rta_abt1.htm - the free version is sufficient to carry out the tests.
If a DVM is to be used it must be capable of measuring high frequency low level signals in order to carry out Symmetry and CMRR adjustments.
The inputs and outputs of the module under test remain connected to the rear connectors when the jig is inserted in the extender led. It is highly recommended that all connections are disconnected from the rack that relate to the module position under test. This includes multiway connections. This will eliminate the effects of loading by cable or external equipment.
There are special cases where these connections may be made and these are discussed later in the text.
The jig places a load of 600 ohms on the module output. This the normal load applied when testing professional audio equipment because it can create worst case output swing and THD conditions.
PHONO connectors are provided for connection to test equipment and/or computer. These are unbalanced connections and the two INPUT sockets are wired in parallel as are the OUTPUT sockets.
Top sockets are for the connection of a signal generator.
Bottom sockets are to the measuring equipment – DVM/oscilloscope/computer.
Additionally test points are provided for each of these lines.
A balanced standard jack plug allows for a balanced feed to be produced from the unbalanced PHONO input. This feeds the PHASE and CMRR test circuitry which is situated before the jack output and can therefore be used to test other equipment or systems.
Similarly, a balanced standard jack plug allows for an external balanced feed to be connected to the measuring equipment. "
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