Jordan Wolf
Forum Replies Created
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The key to using dB as an effective reference is making it meaningful. When I simply say “6dB”, there is no indication of what I am talking about – am I talking about Sound Pressure Level (how “loud” something is) or am I referring to the difference in level between two audio clips as shown on the VU meters?
This is why there are various dB scales (dBu, dBV, dBSPL, dBFS, etc.). They allow us to refine what exactly we are talking about.
For example, one that may be particularly useful to you is dBFS (or Full Scale). Basically, this tells you how much headroom – in dB – you have left before clipping occurs. You can use if for any piece of equipment, per se, but it is normally seen when digital conversion/processing is employed. If an analog mixer can output a maximum of +22dBu, then THAT is its “0dBFS”. In order to keep short-duration signals from clipping the signal, it is best to have around 12dB-20dB of headroom. -18dBFS would indicate that you have 18dB of headroom before clipping will occur.
The dBu specification has a somewhat-interesting history involving the telephone company, but the spec itself can be used for comparing like pieces of gear and calibrating levels between them. (It is very helpful to know the math behind it, but that can be put on the back burner for now.) If you have a field mixer with a built-in tone generator, you can “send tone” so that your mixer’s levels match those of the recording device(s) down the line. This will ensure ample headroom so that your signal remains clean and clear.
I’m glad that you are looking into the resources you have been given. Please continue to ask questions here; we will be happy to answer them as we are able to. 🙂
Wolf
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Read this for some audio insight.
Decibels always describe a ratio between two values (in our case, it’s voltage level compared to time). More to come later…nap time now. 🙂
Wolf
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That is true, Bob. A simple XLR wye cable would suffice for splitting the signal to both tracks. I understand your point though…it is yet another link in the signal chain that can fail.
Wolf
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If you can lower the channel’s gain enough, it will be inconsequential.
Wolf
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JK Audio is one of the standard brands over here in the US.
The QuickTap IFB might work for you.
Wolf
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Tom,
The Whirlwind unit will balance the signal and make it “mic level”. The ProCo unit should do the same thing, although from what I remember, it does not have inputs pads like the Whirlwind one does (very handy to taming hot signals).
As long as there is sufficient headroom in the circuitry, it doesn’t really matter what “level” anything is. The only thing you may notice AFTER the signal is balanced is that there is a teeny bit more noise from added preamp gain. But, that depends…so try it and see if you go that route.
Wolf
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How think of a mic cable are we talking about here? Most of the ones I use are around 1/4″ to 5/16″ in diameter and are very flexible and manageable.
Did you go out and buy a Monster?
Wolf
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Peter,
When you wiggle the cable, where does the crackling noise/intermittent signal begin to occur? Does it happen when you wiggle the 1/8″TRS connector…in the middle of the cable…where the cable enters the Beachtek?
Soldering on a new connector isn’t too difficult; soldering a whole new cable on might not be too hard, either, but it would depend on how adventurous you are. Plus, doing so could void your warranty.
Wolf
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Alrighty – now we’re getting somewhere! 🙂
First, you’ll really want to use the XLR inputs (yes, both of them).
Second: Interfacing…
The best option is to balance the signal coming out of the tape player. This can be achieved by using a direct box of sorts (both Whirlwind and ProCo make good units). Using this method will allow for longer cables runs with less interference from external sources. You can then use the XLR inputs without fear of overload. You could also use the box’s “sum to mono” function, buy/make a XLR to 1/8″ TRS cable, and run that into the Line Input of the recorder.
The next best way would be to buy/make a 1/8″ TRS to dual-XLR cable (about 3ft. long would probably be fine). That will keep the signals separate, although unbalanced, so a conservative estimate for cables run lengths would be no more than 15ft.
Hope that helps. Please report back on your decision.
Wolf
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