Only an (atrocious) emphasis of high frequencies, nothing that can't be achieved with a simple eq. or any crap multiband compressor plugin. Exasperated highs emphasis is a fashion that standardises all contemporary pop productions, eliminating any difference between one recording and another: hear it in one, hear it in all... Pure conformism. Digital recording/production destroys creativity and music.
Could you do some videos on how to solder cat5 and 3.5 mm cables? Would you be able to provide some insight into the type of cable to use? I found these videos to be very helpful. Thanks a lot
I remember those days. I don't miss working with tape. It was a royal pain in the ass. Buuuuuuuuut, that got my foot in the door and I learned a ton about the recording industry and how records are really made and which bands are real and which bands faked it. It was a great experience.
I bought a Weller station and it didn't last very long. Looked into getting it repaired and decided I could get a Hakko for about the same price as the repair. It's been great. Setting the temperature isn't as easy as turning a knob, but I haven't needed to change it yet because everything I do is pretty much the same.
I don't quite understand why the standard XLR cable has a copper shield that you do not remove, and the Mogami snake you did remove it. I understand the drain wire is the ground. But I don't understand why the design of that mogami cable is so that there is 4 total wires..... Could you explain?
In a balanced connector you need 3 connections. Plus Minus and Shield or ground. The first cable I need to connect all three. In the later smaller mogami cable there is Plus, Minus, Shield, AND a drain wire. The drain wire in not insulated so it is in contact with the shield copper inside the cable. Electrically the copper shield and the drain wire are connected and the same. I remove the shield on the mogami and use only the drain wire simply for neatness. I find neat connections fail less and are easier to repair if need be. There was no drain wire on the first microphone cable I used so I had to use the copper shield. As well the video showed how to wire either type of cable so it would help the viewer in either case.
Unfortunately I have no idea what the wiring should be for that cable. There are good RJ11 videos on youtube. My experience uses a phone patch device. I'll bet if you search the internet you can find the wiring.
There's a great video footage Phil Collins recorded on his (new at the time) VHS camcorder in 1983, during the making of their "self-titled" album that year. You can see an edit being done by producer Hugh Padgham on a Studer A-800 Mk II. He did a fantastic job!
That wont help if you want to take the best of two or more band takes which you want to overdub more instruments. I assure you, pros did this for years and it was a common practice.
@biasedaudio Really looking forward to that. I have a hard time differentiating the different concepts of ground/shield/drain between the electronics world and the mains electric world. The terminology throws me off.
I always dealt with pro tapes that do list overbias spec. ATR still lists it . I can't keep track of what companies still exist, but most publish these specs. It can vary based on tape , head gap, and speed. Perfectionists will tell you, you need a distortion analyzer, if you don't know what the tape is, or the over bias. In general I have found ( using 10khz) over 1.5 at 30 ips, or 3 at 15 ips. is ballpark for most tapes. ATR using these number states it would be over 5 at 7.5 ips ( 10khz) . ( If you use 10khz at 7.5 ips the machine should be recording at - 10 . Cassettes I would check the machine manual. ( in the old days we used to Peak bias at 1khz at 7.5)
That's a good question normally I would. Though if there wasn't a good strain relief on the connector or a boot I might use the whole shield to make it stronger
These are for the back of a patch bay, i opted for rean connectors for the TRS plugs to save abit of coin. These wont seen constant plugging/unplugging so i may be good with the drain! Will test it out! Btw thanks for you vids, made 5 dsub connectors yesterday!
I have a question, a bit mysterious, I have a rode ntg3 and it has a bit of hiss. I have two cables, one soldered the three pins as in the video and the other cable only two, pin 1 and 3. and the mic makes a little less hiss. why will it be? for what is this? thank you
I can only assume the mic is running unbalanced and the noise is half, but the level of the audio is also half. So even though you hear less noise the signal to noise is not improved.
Why would you waste our time and not specifically explain what color wires from the trrs cable to connect to what color wires on the trs cable. Thats the whole point of making the video, and you did everything but the most important for those of us who don't know shit about electrical wiring.
Unlike electrical wall power wiring, there is no absolute color code for audio cables. The color can change depending on the wire manufacturer. As a general rule, red is usually hot or tip, and black is low. But some wires have different colors usually on multichannel cables, and in those a clear plastic insulator is lowm headphones again will vary by manufacturer. So these are good guidelines but not absolute. It's best to look at the other end if possible. If not you need to test with a voltmeter. Beyond the scope of this soldering video.
Electroluminescent light sources like this are brighter at higher frequencies, though in practice I see them get dimmer after a kHz or so, this may differ depending on the manufacture method and choice of phosphor. If the audio waveform is being fed directly into the EL panel, the effective controlling variable won’t be the input waveform’s amplitude, but rather the amplitude of the differential of the input waveform. With the taper off. So I’d expect it to be much worse at attenuating bass than mids, sparkly loud cymbals would probably get through too.
Interesting, I don't have a unit handy to observe this, but I will say in general with music low mid and low frequencies at at a much higher amplitude than higher frequencies. The manual somewhat contradicts itself. Page 7 " The amount of light depends on the applied voltage and frequency"...... There is a a high frequency boost on the rear for gain reduction. ( similar to dessing ) The manual states in regards to this control. Page 12 of the manual. " If the control is set to the flat position, the LA 3A will provide equal reduction at all frequencies" .
This is a standard wiring used on most audio devices and patch bays. So if you wanted to make your own non standard cable I guess you could, but I expect it would be messy using all those extra wires feeding the connector.
BBC Radio has a collectionof very rare and early recordings (78's etc..). Obviously over the years the records were scratched and son. The Beeb would transfer these to quarter inch at 30 inches/second. Then some poor sod had to go through the entire tape and physically cut out all plops, scratches etc.and rejoin the taper.
Way back in the late 70's I was just beginning my career as television sound engineer / sound recordist. There was a weekly programme which highlighted the Top Ten records for that week. Part of my job was to take those top ten singles and whip out 10 seconds of each one and join them all together. It was done using quarter inch tape, exactly as in the video. Took most of a day shift to do it and get it to sound right (beats, bars etc..) but after you've done it a while, it becomes fairly easy.
I have a friend who is blessed with the possession of a Nakamichi Dragon. What’s fascinating is the have a signal generator inside to set bias. The procedure requires switching between 400hz and 15khz to get everything set right. *The real kicker* is my Onkyo TA-2700 states in the manual that to set bias, to use an fm tuner set in between stations to generate “white noise” and calibrate at to match the sound of the source at -10db.
