Recording - February 2017 - 8
TalkBack
A higher lower impedance?
Dear Michael Schulze: I was going back through some old issues
and was reading your article on re-amping ("Reamping Secrets",
July 2014) and in particular using the Radial Reamp products to
do re-amping. Under the section "So how do we do this?", your
opening statement was, "When recording, I prefer a very high
impedance active DI to record my track". I thought that when you
use a DI, the output lowers the impedance to a microphone
impedance so that your interface can receive a clean signal.
Where I'm confused is-since your output of the DI is meant to
send a low-impedance signal, are you sending the parallel output
of the DI to your amp and recording that with a mic? I'm a little
lost. Can you help me understand the signal flow? Thanks,
Lanardius Palmer
Michael Schulze replies:
Hi, Lanardius! Thanks for writing! The article explains that active
DIs can have a higher input impedance than passive DIs, so they
load down the instrument less. This generally makes them sound a
little brighter and have a bit higher output. Both active and passive
DIs produce a low-impedance microphone level output. Recording
with a high-impedance DI gives you a less colored recorded signal.
Then, when you re-amp, you can select the high or low impedance
input of the amp depending on what kind of sound you are after.
Finally, you're correct in your last supposition. A parallel DI output
is in fact used to send the guitar's signal to an amplifier for recording.
Reamplification is fun and flexible, but if the guitarist is nailing a
great take, you want the option to preserve what he's getting from
his amp right now. Cheers!-MS
Lightning does strike twice
I'd like to add my voice to the lightning discussion that took
place in the September 2016 Talkback. I agree with you on
"buy surge/voltage protection you can afford, unplug during
lightning storms and get back to enjoying your music" and
that is what I do. My experiences, though, don't show that
actual lightning damage is relatively rare!
I'm on the East Coast and I've twice had lightning incidents
resulting in damage. The first was a strike actually hitting the
house I was living in at the time. The second was more recent,
with lightning hitting a transformer on the pole just across the
street from me. When I tell people the story of the time lightning
struck the house, it invariably turns out that they personally have
a similar story, or at least a secondhand lightning story. Lightning
damage doesn't seem that rare, at least around here!
This has made me very "lightning shy". I watch the radar and
unplug at the first signs of a storm. What I want to add to the
conversation is that lightning will follow any wire into a house,
not just the electrical wiring. So you're not just surge protecting
NOTE TO FAITHFUL WRITERS:
When sending your letters by email,
please remember to include your
name and where you hail from.
and unplugging electrical outlets, you also have to consider
telephone land lines, cable TV and internet connections.
My first strike was back in the day of dialup internet connections.
The zap came in on the phone line, which was connected to a slot
card modem in the computer, and it fried the motherboard. There
was a lot of other damage from that strike. The TV was fried
because of the cable connection, and electrical plugs were actually
blown out of sockets. The firefighters said it was the heavy rain
that stopped a fire from starting at the point of the strike.
I believe cable companies put surge protectors on their line at
the point it enters the house. I've added to this by buying surge
protectors made for use on coaxial cable. I put one on the line
where it enters the modem, and one on the line where it enters the
cable box. There is no telephone landline here, but back when I had
one, I would unplug the phone connector from the wall. I agree
that fear shouldn't stop us from making music, but each of us has
to decide how cautious we want to be.
Michael Nickolas
Studio Nine Productions
Kudos
Hi Paul Stamler: Congratulations on your completion of First
Steps, which I have read religiously; and Bravo! on December
2016's Little List of mics that need to return to production.
Over 30 years ago, I bought a pair of Neumann KM84s and
a pair of Electro-Voice RE55s that have served superbly well
in countless applications. The RE55s have been lifesavers in
situations where even venerable mics like the Neumann U87ai
didn't like the room, regardless of orientation or settings.
I had to chuckle at the gaffer's tape cardioid-to-omni conversion
in First Steps; it's a very handy trick that a wise engineer taught
me 40 years ago when my recording of a grand piano was
smeared and cloudy. That gaffer's tape extended and smoothed
out the high end, extended the low end, and cleaned up much
of the off-axis coloration of an ordinary directional mic. Many
engineers don't understand the value of a good omnidirectional
mic like the RE55, even for live sound.
I'd love a pair of RE15s, but the price has gotten pretty steep, so
I'm using RE16s. You're right, RE15s are better (my gosh, look at
those three virtually identical response curves in the illustration),
but the 16s are very good. When I introduced them to our church
worship leader then years ago, she immediately replaced all of
our SM58s with RE16s, citing their open, airy sound and detail.
Your Little List also prompted visions of Dyna ST70s, and
PAS3s, or Lowther speakers and other audio components that have
returned after hiatus, or need to. Both articles were as validating as
they were educational-a rare combination. Thanks,
Steve Griffing
Plano, TX
Write to us at: Talkback, Recording Magazine, 5408 Idylwild Trail, Boulder, CO 80301
Or save stamps and send email to talkback@recordingmag.com
8
RECORDING FEBRUARY 2017
Table of Contents for the Digital Edition of Recording - February 2017
Contents
Recording - February 2017 - Intro
Recording - February 2017 - Cover1
Recording - February 2017 - Cover2
Recording - February 2017 - 1
Recording - February 2017 - 2
Recording - February 2017 - 3
Recording - February 2017 - 4
Recording - February 2017 - 5
Recording - February 2017 - Contents
Recording - February 2017 - 7
Recording - February 2017 - 8
Recording - February 2017 - 9
Recording - February 2017 - 10
Recording - February 2017 - 11
Recording - February 2017 - 12
Recording - February 2017 - 13
Recording - February 2017 - 14
Recording - February 2017 - 15
Recording - February 2017 - 16
Recording - February 2017 - 17
Recording - February 2017 - 18
Recording - February 2017 - 19
Recording - February 2017 - 20
Recording - February 2017 - 21
Recording - February 2017 - 22
Recording - February 2017 - 23
Recording - February 2017 - 24
Recording - February 2017 - 25
Recording - February 2017 - 26
Recording - February 2017 - 27
Recording - February 2017 - 28
Recording - February 2017 - 29
Recording - February 2017 - 30
Recording - February 2017 - 31
Recording - February 2017 - 32
Recording - February 2017 - 33
Recording - February 2017 - 34
Recording - February 2017 - 35
Recording - February 2017 - 36
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Recording - February 2017 - Cover3
Recording - February 2017 - Cover4
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