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Gear / Technical Help => Ask The Tapers => Topic started by: MakersMarc on November 21, 2019, 11:25:31 AM
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mics are Schoeps 41v/4v.
Thanks!
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Yes.
You're confusing phantom power voltage which runs from the deck to the microphone with the signal level from the microphone to the deck.
The PFA (like the cmc6, and cmc1, etc) converts the 48v phantom power to the 60v polarization the capsule needs to work.
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Yes.
You're confusing phantom power voltage which runs from the deck to the microphone with the signal level from the microphone to the deck.
The PFA (like the cmc6, and cmc1, etc) converts the 48v phantom power to the 60v polarization the capsule needs to work.
got it, thanks. so the proper question is whether Schoeps are too hot for the FP24?
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Yes.
You're confusing phantom power voltage which runs from the deck to the microphone with the signal level from the microphone to the deck.
The PFA (like the cmc6, and cmc1, etc) converts the 48v phantom power to the 60v polarization the capsule needs to work.
got it, thanks. so the proper question is whether Schoeps are too hot for the FP24?
correct, and if the answer is yes, feel free to use attenuators as long as they pass phantom power
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I’ve always run nbob/PFA’s into a SD MP2 with no attenuators and had no issues with clipping. I guess what your sound source is is going to make a difference but for normal PA volumes I’ve never had an issue. Also I believe there are different output levels depending on if you run out of the 3.5’ out vs the XLR outs.
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I had an FP24 for a few years and if it’s going to be LOUD bring attenuators if you are close to the PA it will likely clip mine always did with gefells or AKGs don’t recall using it with my schoeps though
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Btw, this is precisely why some tapers preferred the 48v pfa....
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Shure FP-24 = Sound Devices MixPre (early model). The early SD preamps had more input gain than necessary for high-output condenser microphones, especially when recording high sound pressure levels. So many of those models were designed so that if you switch on phantom powering for condenser microphones, it would automatically reduce the input gain by 10 dB.
That helped, though sometimes further attenuation was called for as well via external, in-line resistive pads. Those pads are a slight nuisance, but they're perfectly OK to use from a sound quality standpoint, since they reduce the microphones' self-noise and the ambient noise of the recording venue by the same amount as the useful signal, so the signal-to-noise performance doesn't suffer. (By the way, for best suppression of interference in your cables, those pads belong at the preamp inputs and not anywhere earlier in the signal chain.)
However, if you're using a non-standard powering/impedance conversion scheme and then feeding the signals into the preamp with the powering switched off, then the preamp is running at a more sensitive setting, so again there's a greater risk of input overload. In general if you find that you often have to set the gain controls on the preamp to very low settings, consider using a pair of balanced resistive attenuators at the preamp inputs.
Shure unfortunately took their simple, ultra-reliable, low-cost fixed attenuators and made them more complicated and expensive (~$45 each nowadays) than they need to be. Fortunately, some of the less expensive ones (Whirlwind for example, at half that price) are good (= well-shielded, reliable, and the series resistors on each side of the "H" pad match each other closely).
--best regards
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Btw, this is precisely why some tapers preferred the 48v pfa....
Thanks all! Gonna stick with no pre. For now.😬😀