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Gear / Technical Help => Battery Boxes, Preamps, Mixers, ADCs, and Processors => Topic started by: greenmtnsrider on September 24, 2015, 12:33:56 PM
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I saw a thread on how to do this on the M10, not sure if the same values would apply to the DR-2d as well. Any help or input would be appreciated.
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You might have already seen this, but I'll throw it out there just in case. This is courtesy of Digigal. I always forget how to do this, so I snapped a couple screenshots and keep them handy. ;)
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Thanks, that's what I saw prior to posting this. So I should use the 1khz tone rather than the Slate tone I take it? Levels should match up the same? Just wasn't sure if the values differed between the m10 and DR-2d. Just wanted to make sure I was doing this correctly. Thanks!
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Yes, use the 1khz tone.
The Digigal procedure china posted is spot on.
The thing is that with a DR2d line-input, the range of available level adjustment is far more limited than the M10, and totals about 5 dB, which may not be enough to calibrate the meters of both devices so that they read identically.
The input level for the DR2d's line-in needs to be set between 95 and 100. Do not go below 95. If you can get the meters aligned within that region, great. If not you have a few choices:
1) Use sufficient attenuation between the FP24 and DR2d to allow you to get the meters to align.
2) Set the DR2d line-in level to 95 (the least sensitive end of that 95 to 100 range, which should be closest to achieving the correct calibration). Clap or otherwise make noise through the mics while adjusting the gain of the FP24 until the DR2d meters are just about reaching 0dbFS (threshold of clipping) and note that meter reading on the FP24. You may want to mark that point on the FP24 meter. That point is now equivalent to 0dbFS on the DR2d and becomes your never to exceed point on the FP24 meter.
3) Worth a try- Switch to using the mic-input on the DR2d, set to low-gain, and see if you can get closer. Do not go below 65 using mic-input/low-gain. It probably won't but it's worth a shot.
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I was able to get to either -19/-21 using line in set at about 97-99. I switched over to mic in and found I needed to be below 67, which I thought was the "unity gain", and didn't want to set it less than that. I was using the tape out off the fp24 rather than the xlr outs as those run hotter per what I have read. This is all using the 1khz tone and not with mics plugged in however.
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I was able to get to either -19/-21 using line in set at about 97-99.
That's your sweet spot right there. Done.
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I was able to get to either -19/-21 using line in set at about 97-99. I switched over to mic in and found I needed to be below 67, which I thought was the "unity gain", and didn't want to set it less than that. I was using the tape out off the fp24 rather than the xlr outs as those run hotter per what I have read. This is all using the 1khz tone and not with mics plugged in however.
You might want to read through this excellent thread (http://taperssection.com/index.php?topic=152494.0), which explains that there's really no such thing as "unity gain" in this application.
That said, I still use the same guidelines from DigiGal to set levels between my FP24 and M10. While it's not unity gain because that's not possible on a recorder such as this, it's still good practice because it ensures that you're using the device with the much better preamp to do most of (not all) the gain adjustment, thus getting a good S/N ratio, etc.
Also, you definitely do not want to run the XLR outs of the FP24 into anything but professional gear that can accept a very hot level. Tape Out is the way to go.
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Thanks for the help guys, much appreciated as always...