Microphoniste
Member
This for sure is a topic that connects to the stoneage of circuit design, but who knows… (edited on September 29th)
Which is your approach on the gain side of your preamp/recorder…
to capture performances where actors can be very low speaking and, out of the blue, shouting like hell in the next second.
In the (older) Nagra days, for instance, there seemed to be a way of combining the gain and level potentiometers… i presume…
so that lowering the level with the level fader meant also lowering the gain. Whereas, on the other hand pushing gain also - at some point - opens up a complementary gain, at the leveling /trim fader.
Of course there are some issues in applying intuitive fading curves. But it worked great and in a very sensitive manner.
Which is your approach on the gain side of your preamp/recorder…
to capture performances where actors can be very low speaking and, out of the blue, shouting like hell in the next second.
In the (older) Nagra days, for instance, there seemed to be a way of combining the gain and level potentiometers… i presume…
so that lowering the level with the level fader meant also lowering the gain. Whereas, on the other hand pushing gain also - at some point - opens up a complementary gain, at the leveling /trim fader.
Of course there are some issues in applying intuitive fading curves. But it worked great and in a very sensitive manner.
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