The CM600 range had an unbalanced audio output, with a separate DC power input — both sharing a commentary screen/ground return — connected via a 3 pin Tuchel plug. I believe the DC power was a nominal 50V rather than 12V, although I expect it would work on a lower voltage (with reduced headroom). N ...

Oh! I was always told Hugh it was Philips who insisted CDs must be the size they are for use in car players? If the sample rate was the more obvious 48kHz the playing time would have been reduced? Another story was that there were no crystals available that could easily be divided down to 48kHz ...

Having typed all that, I see Wonks has already covered much the same ground in much the same way. Regarding the phantom power protection, yes, I can see why you'd want to be careful.... but if you connect to the mixer via a TRS line input socket there will be no phantom on the line anyway. The ...

The keys out R/L cables were plugged into the ART DTI Why? Checking, the buzz was present in each output pair from the DTI. Yes, I'm sure it was. I bypassed the DTI completely (running L/R cables this time from the keys out directly to the Mackie mixer in) and the buzz was gone completely. Gosh ...

Would anyone believe me if I asked what Health and Efficiency was?

Have you tried clearing out the cache and cookies etc? (Apologies for grannies egg blowing!)

Where are we on the IP V4/IP V6 debacle? Trying to build a sufficient body of relevant user data to try and track down the problem... Are there any downsides to not having IP V6? In the short term, no. However, as more and more people and things use the interweb they all need unique addresses, and ...

Is there nothing you do not know, Hugh? ;-) Oh yes! A heck of a lot. :shifty: The more you know, the more you realise how much you don't know! :think: But I have been learning about pro-audio for 54 years, now. I bought my first Studio Sound magazine in 1971 when I was eleven (and I've still got it ...

There are some legacy hardware ambisonic decoders around, but DAW plugins are definitely the way to go. Rode's plugin is one of the best, but there are others. With a good ambisonic decoder you can generate any number of virtual mics with any desired polar pattern pointing in any direction, feeding ...

^ What James said — make sure you're using a machine with a compatible hi-fi audio mode.

The mics were set up in what I have now found out is called a nimbus Halliday array. Ah... that makes a bit more sense. So as far as phase issues are concerned, there won't be any, really, because the three mics were (hopefully) mounted coincidently. If you recorded the three mic outputs to three ...

As Alex has said, your description of mic positions is confusing.

And what instruments were positioned where.

Again, as Alex said, anything to the sides of a Blumlein pair will have huge out-of-phase issues.

Alan25 wrote: ↑Wed Sep 10, 2025 3:44 pm Will I have any issues using this for audio?

Nope. It will work perfectly... provided your audio source and destination are fully balanced.

From your descriptions, I'd say your C12a is due for a service... muffled and veiled are not terms I'd associate with it. The bright top is valid, and proximity effect could account for the scooped and boomy terms. But muffled and veiled are concerning descriptors, for me, at least. And original ...

The challenge I see is my whole lot of synths, all unbalanced. The drum machine has 11 outputs, all unbalanced. Getting these to travel that distance is surely going to pick up noise. Have you tried it? Do they actually pick up noise? I was wondering if some kind of shielding and ferrite cores will ...

Jackie the Shepherd is a recent and fairly frequent poster who, I suspect, simply revived an old thread to ask a new question.

While the whole lot of you gentlemen here are now clearly stating that in a complex studio with myriad connections ground loops ar a PITA and notoriously difficult to resolve. Difficult, but never impossible given knowledge and good engineering. However I feel that while what you just wrote here is ...

It was very good for it's age. The PCM adapter digitised the audio signal, and formatted the digits into a mesmerising black and white TV picture. https://www.deepsignalstudios.com/images/pcm-encoded-vhs-beta-tape.jpg The first six obvious black and white vertical bars represent the most-significant ...

Wonks wrote: ↑Tue Sep 09, 2025 8:34 am Even fluffy pink jumpers IIRC. Hugh was the model for that one.

Ah... the perils of enduring Internet legacies....

(It was my daughter in the pink fluffy jumper, serving as a hand model... honest!)

I'd definitely put distortion emulation before amp/speaker emulation. The distortion emulation inherently adds a lot of strong high frequency harmonics which will sound unpleasant in their raw state. An amp/speaker emulation will roll-off a great deal of those upper harmonics, leaving a rather more ...

I think for half normalled, if I had my RME interface OUTPUT coming in on Cha 1 & 2 on the TOP-BACK and it's INPUT on 1 & 2 BOTTOM-BACK, I was wondering if that would create a bad loop? It's never a good idea to normal a device's outputs to its inputs. In that specific case, the interfaces own ...

My understanding is that it's all but unheard of to mic a digital piano, and that you should record using its line outs or MIDI. Recording MIDI gets the playing instructions , if you like, but not the actual sound of the keyboard, so you'd need to use the MIDI to drive some other sound generation ...

An Hammond owner I know says the purists considered the true Hammond was the pre B3, the one with electricals eg tone wheels etc and the rest, the digitables were mere pretenders. There's certainly a lot of love for all the tonewheel and valve organs which evolved from the 1930s up to the early 70s ...

I used a Sony PCM701 PCM adapter with a betamax recorder in the 80s, and still have them, but haven't used them in decades!

FX Rentals maintain all manner of ancient formats for retrieving archive recordings and might be worth a try. Or possibly Ted Kendall who posts here occasionally.

So you love the sound in the room, except that its muddy and lacks clarity and punch... but the direct sound is thin and dry... Hmmm. Step 1 is to listen critically to what's coming out of the piano's internal speakers. Do they deliver the sound you want if listening close up — thereby excluding the ...