Re: SM57 Trumps CMC6/MK41 (Re: Recording F1 car (urg. advise needed!)

The TCD-10 PII Sony works just fine, it only needs a minor modification....
the "attenuator" actually changes the feedback resistors in the mic pre...
I changed mine from -20db to -37db now overload is not a problem..... just
required 2 surface mount resistors.

Regards:
Eric Weber
www.webermusic.com
"Ty Ford" <tyreeford@xxxxxxxxxxx> wrote in message
news:gv-dnS7Nyv0s4wDeRVn-vw@xxxxxxxxxxxxxx
> On Sun, 11 Dec 2005 10:49:40 -0500, David Satz wrote
> (in article <1134316180.886207.10770@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>):
>
> > Carey, in this case I vote with Hank. I actually have a Sony TCD-D10
> > Pro recorder--an expensive, nice-looking device which I thought would
> > become the digital successor to my trusty old Nagra IV-S and make my
> > concert recording business a breeze. I quickly found out that the only
> > way it can be used with professional condenser microphones is via an
> > external mike preamp and A/D; I still use it that way occasionally.
> >
> > The article mentions obliquely that the recorder's microphone inputs
> > lack phantom powering, but that's only a small part of the problem.
> > More to the point, those mike inputs overload VERY easily even if you
> > switch in the 20 dB attenuation. Plus that then requires you to turn
> > the gain knob way up, adding much unnecessary noise. An outboard mike
> > preamp would fix that problem, but the recorder's line inputs require
> > unusually high signal levels to reach 0 dB and at the same time, are
> > very noisy.
> >
> > And the appalling reason for this: The line inputs work by padding the
> > signals down to dynamic microphone levels, then running them through
> > the above-mentioned mike preamp circuitry. I didn't want to believe
> > that until I checked the schematic myself, but it's true.
> >
> > What bothers me, beyond the fact that any recorder would be designed
> > this way and sold as a "professional" product, and beyond the fact that
> > I paid $2950 for this learning experience (why don't equipment
> > reviewers for magazines run even the most rudimentary technical tests
> > on the units they discuss?), is that any professional sound engineer
> > could use that recorder without becoming aware of these problems.
> >
> > --best regards
> >
>
> The same is true for the DA-P1, no?
>
> Ty Ford
>
>
>
>
> -- Ty Ford's equipment reviews, audio samples, rates and other
audiocentric
> stuff are at www.tyford.com
>


.

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