Shure MV7 vs Rode PodMic

So finally, today’s the day.

I bought myself a USB microphone. The Shure MV7. Actually, a dual USB / XLR microphone. I did a quick comparison with the Rode PodMic, which you can listen to in this short video:

Here is the transcript of the video:

So finally, today’s the day.

I bought myself a USB microphone. The Shure MV7. Actually, a dual USB / XLR microphone, but what you are now listening to, is the XLR version of that microphone or the XLR output of this microphone, which is connected to a Sound Devices MixPre-3 mk II.

Gain is set to 67 dB, high-pass filter of 100 Hz applied.

NoiseAssist plugin is enabled at -6 dB, because I’m recording here in my living room with actually no sound treatment at all.

So that the whole thing will not become too dry. I will be comparing it to another mic.

The Rode PodMic, which you’re listening to right now.

Gain is set at 65 dB, high-pass filter is also set at 100 Hz. NoiseAssist is enabled at -6 dB.

And, maybe the main difference:

The Rode PodMic has an integrated pop screen, which is only sort of effective;

and the Shure MV7 has the wind foam on top of it, which of course was installed.

So, what do you think? Any differences in sound? What microphone does sound better to you?

Microphone comparison in an untreated room

In the next couple of months I will be in a sound-wise unfriendly environment where recordings are very likely to suffer. As we will have to produce “live” there will be no time for post processing. But as I still want to achieve some kind of intelligible sound, I conducted some tests for find a more forgiving microphone for that environment.

I used a 1 minute sample text from Voices (according to the website free to use) to compare the different microphones and their sound (with windows and doors were open).

All microphones have been recorded with the Sound Device MixPre-3 II with HighPass filter (at 80Hz) and NoiseAssist enabled (at -6dB). For the ribbon microphones Rode NTR and Beyerdynamic M160 the HighPass filter was set to 120Hz. All samples have been levelled to -23LUFS.

Microphones tested:

  1. Beyerdynamic M160 (ribbon)
  2. Neumann TLM103 (large condenser)
  3. Rode NT-1 (large condenser)
  4. Rode NTR (ribbon)
  5. StamAudio SA-47 (large condenser, tube)
  6. StamAudio SA-47FET (large condenser)
  7. WarmAudio WA-87 (large condenser)

In the video you see the visual representation of the audio samples, for which I used WaveLab Pro 10.

If I had to pick my favourite mic, I would go for the Beyerdynamic M160 (when listening on the headphones). However, when listening to the samples on a TV, I would go for the Rode NT-1 or the TLM103.

What is your favourite mic and why?

Sound Devices 8-series Firmware v8.90 bug leads to disabled Channel Input after Recording

The other day I finally got my new sound Devices A20 Mini and connected it to my Scorpio via A10-RX / SL-2. After a quick test recording I came across a small firmware error (that actually has nothing to do with the A20).

[Update 2020-05-21] Sound Devices confirmed to me that they are aware of this and seem to have no intentions to address this due to its rare occurrence. Something I can understand and live with it. [Update End]

Normally, after PowerOn the 8-series asks you if you wanted to create a new (daily) folder. Something which I normally confirm. In addition, if you leave the recorder running after midnight, upon stopping the next recording, the 8-series asks you again, if you wanted to create a new folder (or keep recording to the same folder). So far, so good.

So now to the error: whenever we record something on the 8-series and select any Channel the actual (physical) input to that channel is greyed out (as it makes no sense to change any of its settings. As soon, as the recording has finished, the input menu becomes active againg available for modification.

However, when the 8-series asks for a new recording folder, after a recording has finished, that input menu stays disabled. After leaving the Channel screen and re-entering it, the input is active as normal.

And this is all to it. Only a minor nuisance. But maybe Sound Devices will fix it in a future firmware update.

See the following video for a reproduction of the error:

Sound Devices 8 series v8.90: Channel input disabled after recording when selecting a new folder

Powering the Sound Devices MixPre-10 II via a MyVolts Hirose DC Adapter and a USB-C PowerBank

The Sound Devices MixPre-10 II unfortunately does not support power via USB, but either gives you power options via the battery sled or its Hirose 4-pin adapter. As normal NiMH batteries last to something like zero and the original AC/DC adapter is a bit bulky, I looked for an alternative, which I found at MyVolts with their Hirose DC adapter.

This adapter provides a 2.1mm x 5.1mm socket, so you can plug in virtually any AC/DC adapter as long as it supplies a voltage between 9 V and 18V (and of course a bit of current). For this to work, you have to set the “Ext Power” option in the “Power” menu to either “Full Range” or “12V Ext DC”.

I tested this with a Blackmagic Design 12V adapter which supplies a current of 1 A. With that I could switch all 8 inputs to 48V Phantom Power and have the NoiseAssist plugin enabled. The power meter on the home screen shows a more than 1/2 empty “green battery” when using “Full Range” and 2/3 full with text displaying “EXT”. So far so good.

USB-C Trigger Board

Taking this setup one step further, I connected a USB-C trigger board, set that fixed to 12V output voltage (check YT for a couple of videos on how to do this) and then connected a power bank with a USB-C port. Now I can use my MixPre-10 II on the go with an ordinary USB-C power bank without having to resort to a SmartBattery along with its costly adapter.

This is it for today. Happy recording.

Sound Devices Scorpio with Hirose 10-pin Output

The Sound Devices Scorpio comes with 2 Hirose 10-pin outputs that – according to the block diagram – can be configured for L, R or bus B1 to B10. Sound Devices sells this cable under the product name XL-10. However, this item is no longer sold. And my supplier in Switzerland told me, he would have nothing left in stock, but: maybe Ambient in Germany could still get hold of some cables. One call later, and I found out that these guys neither had them for order, but they manufactured and distributed an exact clone of that cable under the catchy name of HBS10Y10-35W. Once ordered, and waiting for the shipment completed, I could finally make use of that cable giving me an extra pair of full size XLR outputs on my Scorpio.

Sound Devices XL-10 Ambient HBS10Y10-35W
Sound Devices XL-10 Ambient HBS10Y10-35W

In the package, you actually get two cables:

  1. Hirose 10-pin coiled extension
  2. Hirose 10-pin male to 1x 3.5mm TRS jack and 2x full size XLR male jacks

Here is what the cables look like when packaged:

Sound Devices XL-10 from Audient HBS10Y10-35W
Sound Devices XL-10 from Audient HBS10Y10-35W

Mixing a Concert with a Sound Devices Scorpio

In this post I tell the story how it came that I bought myself a Behringer X32 as a “replacement” for my Sound Devices Scorpio. Ok, not really a replacement. I am totally happy with my Scorpio. Maybe more of an addition …

And here the story goes: some days ago, a colleague via a friend of mine asked me, if I had “two or three microphones”. – “Sure. What for?”, I replied. My friend could not tell. So I got in touch with the colleague who turned out to be an aspiring musician having agreed to playing a gig in a location nearby. Some questions later it surfaced, that the location nearby was a bar with “only basic sound equipment”. “In that case, a good idea to bring a mic.”, I thought. But maybe an even better idea was, to check out the bar, which turned out to have virtually no equipment except for some speakers (and a Mackie mixer no-one could operate). And besides that, we found out that neither the musicians nor the bar tender would have a sound technician who would set up the whole stuff. I roughly told them, what I would think, that they needed for playing the gig and finished my beer. End of story, I thought …

But as no good deed gets unpunished I found myself in the situation of having become *the* sound technician the band was in need for. Splendid. The only problem being, I virtually had no gear for live mixing and my Neumann Voice-Over condenser microphones were probably not the first choice for playing live in a small crowded place, where “accoustic treatment” was a foreign word. Of cource, I had a mixer. It is from Sound Devices and could easily handle the track count of the small band consisting of three members. But is Sound Devices really the go-for gear when mixing live concerts? Another question to myself left unanswered was: can live mixing be so different from recording voice-over work in a studio? Something I would have to find out.

So I checked with the requirements of the band and agreed to be there the next day to set everything up. As a preparation, I came up with a small wiring plan which largely looked like this:

  1. Keys L / Keys R via TS from Line-Out to Scorpio as Line-In to Ch01/Ch02
  2. Shure BETA 58 A for Vocals to Scorpio as Mic to Ch03
  3. Shure SM 58 A for Drums (just recording) to Scorpio as Mic to Ch04
    (Drums probably needed no amplification as the room was so small, but I placed a microphone next to it for the purpose of recording it.)
  4. Bass from amplifier Line-Out to Scorpio as Line-In to Ch05

On that very day: arriving at the scene on time I quickly found myself with a large beer, but without a band. “Ok, not my gig'”, I thought. On the other, having them showing up at the very last moment *could* raise the stress level on both sides, if I had to explain them, they would have to play “unplugged”, because of lack of time. But wait – no band starts playing at the announced time! So no stress doing the cabling and sound check in front of the audience, right? Eventually, the band manifested itself into the venue and we could start.

So easy, so good. However, inside the bar there were some “challenges” with the area where the musicians would perform (noticed, how I avoided using the word “stage”?). They were supposed to play directly in front of a large mirror mounted on a drywall in front of the toilets. Curtains to the rescue! But only *after* we would have moved a couple of tables and other stuff. A carpet being available with almost the size needed, trying to guarantee for a virtually echo-proof environment, completed the picture. Stage ready. And then the speakers … the main speakers were mounted directly where the musicicans were playing. “Oh great, we can use these speakers at the same time as monitors, so no separate monitors needed”, I thought, being an optimistic sound technician. (Sneak preview: after I connected them to the X1/X2 output of the Scorpio, and setting up the vocal microphone, at the start I constantly got feedback from the main speakers, as they were mounted *behind* the singer.) Following some *careful* hyper-cardiod Shure BETA 58 A mic placement, I therefore resorted to my trusty Sennheiser G4 wireless IEM with some Voice Technologies VT-600 headsets, and configured a separate bus without drums to get the mix to the to the band, as a separate monitor was really not a possibility here. A third speaker was placed next to the bar, maybe 10-12m into the room, giving me the opportunity to make use of my output delay option (around 2.92ms/m it is, right?) on the Scorpio’s X3 TA3F output.

After connecting all the instruments, I persuaded the band, that I would *really* appreciate, if they could do some sound check *together* instead of only playing *individually*. Good that I constantly upgraded the firmware of my Scorpio, so I could not only smooth out things a bit with an EQ, but also do some good on bass and drums with a compressor (starting with firmware version v7.0). Ready to play? Not really, as the bass guy revealed being the proud owner of a guitar, he intended to play on a song during the gig. As easy as updating my configuration, and placing the guitar on Ch06 and into the mix. Problem solved. Except we could not find a line out on the guitar amp. “Not my amp”, the bass guy explained. Strange enough, there really seemed to be none, except for some unlabelled “aux send”. After the actual connection was made, I was happy to be able to get rid of some hum and making use of my NoiseAssist plugin to attenuate some strange noise out of the amp.

Eventually, all seemed well *and* we were on time, meaning: sound was ok, Scorpio armed for recording, Remote Audio headset ready, and a fresh beer to cool down the heat. Let’s roll! What I did not calculate into the equation: no band starts on time. So grabbing another beer was the next logical step, and waiting …

In the end, it played out all surprisingly well. The band played two gigs, with the second gig being much better, than the first one. And interestingly, not only much better, but also much faster and *louder*, having me to readjust all the gain settings. Part of my new life as a live sound technician. And then for the teardown: armed with a beer offered by the bartender, I quickly put my stuff into boxes, gave some microphone technique advisory and was off to go. And this is, where the idea about buying a Behringer X32 or some other mixer comes into play.

Why would that be? I really have a bad feeling lending out my Scorpio for a future event to some band or a technician at some venue (even with insurance). Having to double-check everything on return does not feel that great either. Conclusion: I should have some gear that is not so delicate and most importantly sufficiently cheap, that an accident not only not breaks anyone’s heart, but also not the bank.

So I collected the requirements I would like to see in such a setup:

  • Minimum amount of cables required (yes, that’s fuzzy)
  • Least amount of setup and configuration needed (yep, also fuzzy)
  • Front of House must be separate from Stage
  • Personal mix should be adjustable by the artist
  • All configuration settings must be savable/restorable
  • The gear must be controllable via configuration app and/or external control surface
  • Dante for interop with other audio gear
  • Minimum of 16 channels (extendable to 32 channels)
  • Optional Hi-Z / DI inputs
  • Rack transportable
  • Less than 5k CHF (including cables)

Note ahead: I am in no way affiliated nor financially supported by any brand nor do I get any financial benefit from talking about any of the gear. In addition, every item I mention here I bought my with own money.

After some research I found that Behringer offers something that closely matched the requirements. So in the end, I opted for the following gear:

  • Behringer X32 Rack as the front of house digital mixer (with a single Ultranet port and 2 AES50 ports)
  • Behringer X-Dante extension card (swapping out the pre-shipped USB extension card)
  • Behringer X-touch control surface
  • Zoom H6 Handy Recorder to be able to record up to 6 tracks from the mixer (this device I just already happened to have, and had no use for it, so I decided to give it a “new life”)
  • Adam Hall power conditioner 230V@10A with 8 outputs
  • charger with 4 USB 3.0 ports
  • 8 port Netgear GS108PP-100EUS PoE+ switch
  • TP-Link nano router for providing IP addresses to the control surface, X32 remote port and Dante card and the optional PC for the remote app
  • 2U drawer for cables and other stuff
  • all this packed into a 8U case

For the stage part I opted for the following components:

  • Behringer SD16 stage box with 16 pre-amped (with 2 Hi-Z) inputs and 8 line outputs and with an additional 4 Ultranet ports with power distribution. Plus, the stage box has 2 AES50 ports, with port A being connected to port A of the X32 Rack via a 50m Cat5e cable drum with locking RJ45 connectors
  • 4 Behringer P-16M personal mixer connected via Ultranet to the SD16 (with no additional power cord needed), which give each artist the possibility to mix up to 16 tracks into their own mix, as channels 01-16 on the SD16 (mapped to channels 17-33 on the X32) are routed to the Ultranet channels 01-16
  • 4 Behringer B105D monitor speakers with 50W which can be connected to the P16-M via 2 TS 1/4″ in case you do not want to use the headphone output of the P16-M (also 1/4″)
  • Adam Hall power conditioner 230V@10A with 8 outputs
  • charger with 4 USB 3.0 ports
  • 1U shelf for holding the 4 P16-M mixers
  • 2U drawer for cables and other stuff
  • all this packed into a 6U case

After playing around with the X32 a little bit and coming from the Sound Devices 8-series world, I really had to “readjust” my understanding on how flexible the mixer effectively was and how it could be configured. But one thing really impressed me: how easy the overall configuration of the digital links actually was. Really plug’n’play. This also hold true for the Ultranet connections. Once I found the place in the X32, I configured the channels for Ultranet and I instantly got signal on the channels of the P16-M! Configuring the effects, I found somehow counter-intuitive: routing the signal over an FX bus, instead of just activating the desired effect on the channel itself was not something I had expected. Also the compressor on an actual channel seemed to replicate its settings over to the other inputs as well. But maybe, I have not yet figured out, how this is supposed to work. So be prepared, to read more about it in a later post.

A strange thing I experienced with the X-touch was, that every time I start up the control surface, I have to press the “Scan” encoder knob to actually connect to the X32 mixer. No automatic reconnect.

And this is the end of the story how it came I got myself an X32 mixer in addition to my highly appreciated Scorpio …

Sound Comparison: Phone Calls via Audinate Dante AVIO USB-C vs Bluetooth Adapter

I just did a quick test to see if there is any difference in sound or quality between using an Audindate Dante AVIO USB-C Adapter vs an Audinate Dante AVIO Bluetooth Adapter when recording a phone call.

In the test you can hear that both version do not offer great sound. This might stem from the fact that the headset used is rather mediocre. In my opinion, the Bluetooth adapter has a more metallic sound and is less preferable. See below for more details on both spectra.

The video has a rather long black tail. This was not intended did slip through my quality ensurance programme. Sorry for that.

When looking at the spectrum of both samples, it seems that the USB-C adapter has a *sharper* cut at the upper end. But maybe I am misinterpreting that:

USB-C Spectrum
Bluetooth Spectrum

The following two videos show the spectroscope of both recordings (USB-C and Bluetooth):

USB-C Spectroscope
Bluetooth Spectroscope

This is it for today’s post. What are your thoughts about these adapters?

ps By the way, I just tried my first instagram video in “portrait mode” by using this video (still with black on top and bottom). Tell me if this is better viewable than a standard 16:9.

Layout of Portable Audio and Video Setup

A couple of weeks ago I posted a video of our portable audio and video setup:

Building a portable web conferencing audio and video setup with a Sound Devices 833 and Dante

In the video I did not show you the actual diagram of all the wiring. So here it is:

Setup with analogue adapters running out of 833

This is actually a modified version as I since replaced the Audinate AVIO Dante AES adapter with an Audinate AVIO Dante Analogue Input adapter. If you are interested in the difference of quality and latency between these adapters, check the following image (taken from RX8) or see this video:

AES adapter on top, Analogue adapter on the bottom (slightly higher noise floor and 10 samples behind)

The original layout with the AES adapter is this one:

Original setup with Audinate AVIO Dante AES adapter

And in case you are interested, here is the Dante configuration as seen in the Dante Controller:

Dante Configuration in Dante Controller (with AES)

Replace the AES adapter with an Analogue Input adapter and set the L/R outputs 833 to *Line*. With the analogue adapter we have to use both cables/physical outputs (instead of just using the L output in AES mode). And a side note: there is no output delay possible on the 8-series mixer with AES as the output.

This is it for today. See you next time.

audio and video and everything else

Beginning with the COVID-19 pandemic, at my daytime job I suddenly had to switch from face-to-face meetings to *virtual events*. Therefore I reactivated my analogue radio station knowledge from the nineties and invested in some audio and video gear. As it became apparent very quickly, technology had advanced in these 25+ years with things being possible I would not have imagined.

In the last 12 months I spent some time trying out mixers, software and ways to connect stuff. In that time, I learned quite a lot from others and hopefully I can pass along some things I came across on my way. So from time to time I will post a video on YouTube, Facebook, Instagram or Twitter and write about my findings. And with that being said, the contents of the Twitter channel (being dormant now for a couple of years) will definitely change.

See you around. Ronald