A single cell - ie 1.5 volts - is quite sufficient to test a speaker
Not so - since a speaker may have to reproduce a sine wave it has to move equal amounts back and forth. If it doesn't it will distort the sound.
--
*A cubicle is just a padded cell without a door.
Dave Plowman dave@davenoise.co.uk London SW
To e-mail, change noise into sound.
Which was one of the points I made, too ...
Arfa
How do you figure that absolute phase can have any such effect ?
Arfa
It's normal in any multi-mic situation to go round all the mics at check time with one on a long cable etc and check the phase of them all.
(For those not clear on how to do this you place them close together and talk. The sound mixer then fades then both up to the same level and reverses the phase of one. You will get a large drop in level etc when they're out of phase.)
Of course most good make mics, cables and mixers will be in phase with themselves - but it's sometimes not the case with all makes of mics and of course you have to allow for careless repairs.
Deliberately reversing the phase on one mic or group of mics is sometimes used for operational reasons.
Other one to look out for is ribbon mics. Turning them round reverses the phase and it may be convenient for mic placement to use the back rather than the front.
--
*All those who believe in psychokinesis, raise my hand *
Dave Plowman dave@davenoise.co.uk London SW
To e-mail, change noise into sound.
it's a
Of no concern to me.
Because the music from the speaker expects the bass drum to be considerably louder than the actual bass drum was when recorded.
-- Dec. 6 (Bloomberg) -- Government officials and activists flying to Bali, Indonesia, for the United Nations meeting on climate change will cause as much pollution as 20,000 cars in a year.
All that it matters is what they are all wired the same why in your car. But if you want to make sure you are wired as the others, follow the code/ It does make a difference. for example, You don't want one speaker pulling in while the other is pushing out on the same tone, this will cause it to cancel and will be noticed in the bass regions mostly.
If you're not sure of the polarity, I have always turned on the system and played something with some bass in it. the correct polarity will yield the max bass..
-- "I'd rather have a bottle in front of me than a frontal lobotomy" "Daily Thought: SOME PEOPLE ARE LIKE SLINKIES. NOT REALLY GOOD FOR ANYTHING BUT THEY BRING A SMILE TO YOUR FACE WHEN PUSHED DOWN THE STAIRS. http://webpages.charter.net/jamie_5"
I agree with the notion that absolute phase is irrelevant, but one thing to consider is that if there are other speakers or the speakers in question are part of a system with a crossover, then you are not just talking about absolute phase. You could have a situation where the two speakers are out of phase with others...
Leonard
Stick your head in a bass drum sometime and tell me if it's loud or not. Okay, you meant relative to the other instruments, but even then, spend some time in a rock band rehearsal room and tell me again about loud....
jak
Absolutely, a drumkit should be thought of as one instrument, rather than a collection of drums. A decent kit has all the parts nicely balanced with each other. For a lot of big band work, we often mike up a normal drumkit with just two overhead mikes - just one if there`s no need for stereo. The bass drum comes through just fine[1] Of course, it ALL depends on the talent of the man playing the drums.
[1] I am of course referring to live sound reinforcement.Ron(UK)
It gets a lot more complicated since a ported enclosure minimizes the woofer movement. The port will be the dominate output device if the bass is near the tuned frequency. The phase will vary around all this anyway so absolute phase is a guess.
greg
Yes, when talking about individual drivers within a system, you have different situations. Phase between upper and lower drivers will change response and polar patterns.
greg
Of course it matters in that case. Mic'ing from the other side of the drum will effectively produce a reverse polarity signal from the mic.
Not miking the bass drum wouldn't have cut it in any band I've been in. Minimally we used 3, one overhead, one more near the snare and hi-hats, and one on the bass.
That`s the classic jazz set up
Yes, it drives a hole through the sound making the bass drum both tubby and clicky, which is sometimes what you want. Theoretically, one mike either side of a head, with one mike reversed polarity, puts them both in phase with the sound from the head. We sometimes do the same with snare, one above, one below
Ron(UK)
wm snipped-for-privacy@hotmail.com hath wroth:
Right now, it's "high". I accidentally double dosed on the meds 2 nights ago and still feel rather "high" this morning. Wheeeee....
Sounds right. I have a pair of microphones plugged into a dual channel scope (Tek 422) which I used for checking the phase on speaker systems. A tone to all speakers and a Lissajous pattern works well. I found one 5.1 systems that arrives stock frome the factory with the phasing all wrong. Sigh.
I have 4ea Dallas blobs for you. Maybe more. I'll get everything packaged up and mailed next week. My appologies for the delay. (Excuse: The boxes got stored by the hired help in the back of the closet and were instantly forgotten).
-- Jeff Liebermann jeffl@cruzio.com 150 Felker St #D http://www.LearnByDestroying.com Santa Cruz CA 95060 http://802.11junk.com Skype: JeffLiebermann AE6KS 831-336-2558
Meat Plow hath wroth:
Yep, and for a good reason. The drum set covers a wide frequency range. Bass drum is mostly at the low end of the audio spectrum, while all the brass is near the high end. The problem is that the lower frequency stuff is almost isotropic (radiates equally in all directions), while the high frequency stuff is fairly directional. For example, the snake and hat tend to radiate more up and downward than toward the audience. The result is that the drums sound different depending on where you stand or sit. I've been told the drums sound totally different to the drummer and audience.
My experience is with mixing post production mixing back in the late
1960's. If any group dragged in a tape with only one track for the drums, they would be asked to re-record with 3 mics. I can clean up the usual mess (pedal clank, stick click, etc) with noise gates and such, but it's so much easier if the individual instruments were recorded with a close mic (so as not to pickup sounds from other instruments). It's a real art doing that correctly with a drum set and really messy with an orchestra. You've only to compare a raw, single mic/stereo recording in a concert hall, with the same concert properly mixed in a studio.-- Jeff Liebermann jeffl@cruzio.com 150 Felker St #D http://www.LearnByDestroying.com Santa Cruz CA 95060 http://802.11junk.com Skype: JeffLiebermann AE6KS 831-336-2558
How did we get to preferring artificial sound construction over the amalgamated blend of sound heard in a hall? I prefer the direct-to- wax from the pickup horn of jazz recordings in the 1920's over anything mixed in the studio since 1955. The big band recordings in studios done since the 1960s sound nothing like the dance hall experience of the 1940s (or even bands on film for that matter) in part due to the preferences of engineers at consoles. The only legitimate in studio music in my opinion is disco/euro-disco, techno and synth which is an art of the mixer in large part (I'll pretend hip hop doesn't exit).
Regards,
Michael
Classic set up for any drum kit. The fad for using upwards of 8 mics on a kit is very often counter-productive.
--
*Verbs HAS to agree with their subjects *
Dave Plowman dave@davenoise.co.uk London SW
To e-mail, change noise into sound.
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