Jordan Wolf
Forum Replies Created
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“…I had always considered variable gain as sort of a rough level control and the pot or fader as a fine level control.”
The gain knob/pot controls how much gain is applied to the incoming signal. It is necessary to boost this level so that it is usable for the mixer’s circuitry.
Gain structure is a crucial part of keep the Signal-to-Noise Ratio of a system as low as possible. Every electrical component has some noise that it imparts to the signal passing through it, but a proper S/N ratio setup will keep this to a minimum.
“What I inferred from this is that the gain will also make a mic more sensitive to lower noises, which seems a bit illogical, but may be the case…How does Gain effect mic sensitivity, and in The future should I use the lowest gain possible to get the desired level? Was this a useful adjustment?”
Gain is gain is gain – it doesn’t matter where you add it or take it away, if the numbers add up similarly, the end result is the same. Too much analog gain can lead to distortion that, although not usually desirable in our line of work, may be some added harmonics (put more simply: overtones) that “enhance” a signal’s timbre/tone.
I work in live sound reinforcement full-time, and proper gain structure is imperative in my setups – I don’t want hissing loudspeakers or distorting microphones when one person eats the mic versus the others holding it further away from their mouths.
Depending on your mixer, there may be a different way to “set” your gain level. If you have no way to PFL (listen directly to the head amp) the channel, but there is a “peak” light, I would (1) lower the fader slider or knob/pot and then (2) have the talent speak as loudly into the mic as possible, so that the “peak” light illuminates occasionally. That should get you where you need to be.
Wolf
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Make sure that the balanced feed you’re being sent from the radio booth has its Pin 1 lifted, or the phantom power coming from your camera’s inputs could fry the output circuitry in the mixer.
Wolf
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Ingo,
The PG81 is an instrument microphone that requires a mic clip and some sort of stand. I think you have your model number wrong.
In this situation, I would like to see each person with a lavalier microphone. They would be sent through a mixer and the mixperson would ensure that their relative levels are maintained for the recording.
If there isn’t a mixperson available, you could use an automatic mixer like the Shure SCM410 (with some adjustments to the default settings) or just record each person straight through and edit the cuts in post-production.
If you’ve found your solution, good. If not, keep asking questions. Actually, even if you HAVE found your solution, keep asking questions. 🙂
Wolf
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Pedro,
Can you please tell us exactly what manufacturer & model of USB preamp you have?
I’ve never heard of phantom power damaging a condenser microphone – a ribbon mic, yes, and maybe some cheaper/ill-designed wireless mic receiver outputs, but never a condenser mic.
The biggest issue I normally face is making sure the channel is muted so that the loud “pop” doesn’t blow a HF driver (though I’ve yet to have that happen, either). I guess it’s more of a precaution. Better safe than sorry.
Wolf
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If you use compression, you’ll only be changing the relationship between the “average” level and the peak level of the audio. If you use AGC (automatic gain control), you might have better luck; setting the correct threshold and attack/release times is the tricky part.
To make things quieter once a certain level is reached, you want to use an expander.
I think you should use an interface with motorized digital encoders (“flying faders”) to enable you to mix more easily and smoothly. The PreSonus Faderport is pretty cool and not very pricey…maybe look into that if you don’t have a work surface yet.
Wolf
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Jeanette,
When it comes to wireless, you really get what you pay for. I wouldn’t consider any system under $400USD, honestly. All it takes is one bad experience and you’ll regret cheap wireless…when you go for pro-level equipment, you should never regret having bought it.
Go for the good stuff – you’ll never regret it, I promise. 🙂
Wolf
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James,
The H4n’s 1/4″ jacks are unbalanced and Hi-Z and are meant for direct connection with guitars, keyboards, and other similar electronic instruments. The XLR jacks feed microphone preamps, which will clip when fed with too high a voltage (like that from a line level output on a mixer).
I recommend using a 30dB barrel pad on each XLR input to drop the voltage down to something that the internal mic preamps can handle without distorting.
Wolf
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Will,
You could make up your own mic cables using a 100 microFarad capacitor on the Pin-1, output side of the cable to shunt anything above audio frequencies to ground and remove/significantly attenuate it from your signal path. They’re cheap and it’s a simple fix. Google around for info.
Wolf
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Did you friend purchase the mic “new”, or did he get it used, also?
It sort of sounds like the circuitry that energizes the diaphragm plate is bad or going bad – my bet would be overexposure to moisture.
Wolf
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