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INTERNAL
DECK MOD 2 & 3
Sometimes an option for direct
connected 'plug-in-MIC' power
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1)
The simple and most direct DSM powering uses
the mic 'Plug-in-Power' *feature normally found on most
Sony/Sharp MD/DAT,
Edirol R1/R-09
flash decks, and some camcorders with powered minijack mic
inputs.
IN
OTHER WORDS:
Nothing
beats the convenience, and other direct connection benefits
of just plugging the mic into the deck's mic input jack
to record.
This
is the most convenient 'all-in-one-deck' + DSM mic compact
system.
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2)
Most
(but
not all)
decks with low voltage electret type mic
powering feature (but
NOT 12-48 volt 'phantom power')
will
operate a DSM mic in 'more or less' OK fashion.
EXCEPTION
IS LATEST SONY
PCM-D50 as first STOCK
portable recorder sold in last 7 years to FULLY
POWER DSM MICS PERFECTLY;
AND have quiet internal mic preamplifier
!!!!
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The
DSM mic is directly plugged into the deck's
mic Mini-Stereo input jack for
mic signal and mic power connection with 'plug-in-power'
featured recorders.
When the deck's mic input cannot properly
power the DSM mic, installation
of MOD-2/MOD-3*
powering upgrade (for D100/M1 DAT & R-09/PMD-620
deck only), or use of an appropriate PA
adapter model is suggested.
If
deck has noisy mic preamplifier, and is being
used for recording acoustic sources, then suggest for
noise-free results an external PA-3SX
or PA-24NJ preamp for both powering the mic,
and improving the audio quality/versatility over common
too noisy, gain-limited internal deck preamps.
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WHAT
IS MOD-2 UPGRADE for Sony DAT Models?:
The
upgrade places additional surface mounted components
(SMC) 'in-tandem' with the existing Sony circuit to
boost the mic supply performance specific to DSM mic
powering. Nothing else is changed AND Sony has
honored (to this date) all warranty/services
agreements regardless of having this upgrade installed.
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I
did have only two occasions (in 10 years) where
there was need to send Sony the upgrade's technical
details describing the true scope of the upgrading
procedure in response to a temporary denial
of honoring an extended warranty service contract.
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SONY
DAT decks are sent here;
48 hour turnaround for MOD-2 service upgrade.
NOTE:
MOD-2 doesn't affect warranty, serviceability,
or shorten the battery running time by more than
a few minutes. Typical MOD-2 mic powering battery
drain is LESS THAN 1/150th of the total deck power.
MOD-2
upgrade is $125 USD for TCD-D100 & PCM-M1 DAT.
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EDIROL R-09 & MARANTZ PMD-620
MOD-3
DSM MIC POWERING UPGRADE
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R-09
was the first, and now PMD-620
flash recorder is practical for internal mic
power circuitry upgrade for direct 'plug-in-mic-power'
for DSM™
stereo-surround 2 channel mics.
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Stock
R-09/PMD-620 are NOT compatible for working direct connection
powering of DSM microphone; TOO much current is applied causing
mic to not operate. |
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| MOD-3
internal deck upgrade increases current control so DSM mic
operates simply plugged into the MIC minijack input. Mic power
is then turned on using the deck's menu. |
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| MOD-3
is recommended for recording applications needing simplicity
of lowest profile/size of deck+mic two piece recording gear
where internal noise performance of the deck is not an issue.
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| Having
R-09 or PMD-620 upgraded is suggested for recording moderate
low-to-extreme loudness ambient/effects, and musical sounds.
And when the modest noise performance of deck's internal mic
preamplifier is found adequate for the intended purpose. |
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MOD-3
Upgrade Service
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R-09
+ MOD-3 Upgrade + DSM-6S/EL
stereo mic might be THE most compact, highest quality, and
longest running 2-PIECE
BLUES/POP/ROCK recording system available.
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R-09:
$150 USD + Shipping (if outside USA)
PMD-620:
$125 USD + Shipping
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NOTE:
MOD-3 upgrade service ONLY; R-09 deck and DSM mic shown above
NOT included
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Edirol
R1 solid
state recorder
(out of production),
TCD-D7/D8 DAT deck models,
(and SBM-1 Accessory; ALL out
of production)
have low current for DSM powering. However,
these models are still OK to directly power a DSM mic in
a consistent manner without external mic powering solutions,
but marginal powering performance of these decks
is suggested mostly
for lower audio quality requirements. (NOTE: R1's
internal preamplifier is also a bit too noisy for most low
loudness 'natural acoustic' sounds.)
EXCEPTION
IS LATEST SONY PCM-D50
as first STOCK flash deck to FULLY POWER DSM MICS
CORRECTLY.
This
is NOT true for TCD-D100/PCM-M1
models
(out
of production)
ALWAYS requiring MOD-2* upgrade
for
consistent low distortion recording for ability to use direct-connected
mic powering method. TCD-D100/PCM-M1
mic powering feature
is unique in being way, way 'too low in supply current'
for consistent DSM mic powering.
NOTE:
Sony SBM-1 Portable Digital Processor DAT
accessory & MZ-R30/37/50/55/90 MiniDisc recording
decks mostly DO NOT require MOD-2 as the stock mic powering
is a little weak, but good enough for consistent
DSM recording quality. This is NOT true of later
Sony MD models often with too little available mic power
for consistent DSM mic performance.
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MOD-2*
and newer MOD-3 direct mic powering are internal
deck upgrades now only available for TCD-D100
& PCM-M1 Sony DAT, and Edirol/Roland R-09, Marantz
PMD-620 flash decks.
ALSO,
PA-3SX preamp
provides simple DSM powering, and most advanced precision
DSM mic powering is found in all
PA-24 series
of portable mic preamplifier.
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Just
plugging-in a DSM mic into 'most' Sony MD/DAT, and Edirol
(talking R-1 only)
mini-portable recorders will allow a DSM "to operate" (like
you'll be able to record), but performance varies from
sufficiently OK to NOT OK manner sometimes causing distorted
(or indeterminate) performance at unexpected times
if the deck is under-powering the mic set.
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In
other words,
conventional electret microphone work best at HIGHER
voltage NOT found in portable decks, but are happy ONLY
with the low current that is found in these same decks.
DSM
mics work best with LOW voltage found in 'Plug-in-Power'
portable decks, but need much HIGHER current than most electret
type mics; just the OPPOSITE of conventional condenser type
microphones.
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NOTE:
The Sony-portable-deck's ability to power DSM type mics
has always varied with model (and
model version). EXCEPTION
IS LATEST SONY PCM-D50
as first STOCK flash deck to FULLY POWER DSM MICS
CORRECTLY.
While
the 1.5-2.5 volts available at the mic jack in Sony decks
is fine for full performance with DSM (but
NOT for ordinary electrets that work best with 3-10 volts
or higher), the
'direct-from-stock-deck' power issue with DSM series
mics is DSM needs up to 10 times MORE 'current' or amperage
than is usual for common electrets from other manufacturers.
Other
recorder models (like
Edirol R-1, Aiwa, and Sony/Canon camera) with mic
'plug-in-power' features are again, generally usable,
but with the same problems of indeterminate DSM performance;
some work OK, but others are too weak supplying needed
more mic powering current for consistent performance.
Stock
Roland/Edirol R-09,
and Marantz PMD-620 mic input-jack powering feature will
NOT work for direct DSM mic powering unless MOD-3
upgrade is installed.
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KNOWN:
Stock
(analog
cassette) WM-D3/D6C mic power is
weak (for powering the DSM mic) while
the D7/8 decks is much better, but
NOT (nearly) good enough for full DSM performance.
Sony
MZ-R30/37/50/55/90 & SBM-1 powering is OK or
mostly good enough ...
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However,
Bass reduction filters, when
required, need a model of
PA-6LCxx external powering module or PA-24NJ
preamplifier's 45/90 cycle LoCUT.
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The
DSM mic powering ability of newest Sony MD and HiMD portable
decks is unknown,
there just too many new models to individually acquire for
bench testing. I have had several reports of direct DSM
mic powering problems with MZ-R700 and later. Using a
PA adapter solved audible distortion complaints.
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I
think in general newer Sony MD models are not very good
for DSM mic powering or at least greatly suspect to not
being adequate.
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ANY
SHARP MiniDISC MODEL (with
mic input) is
the only stock portable deck (found) that
directly powers DSM mics nearly PERFECTLY just 'as supplied
stock by Sharp'.
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NOTE:
Sharp USA distributed/warranty MD decks are no longer available.
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| #2)
IN-SERIES
PA Mic Powering & Bass Reduction Filters |
 |
'Standard'
PA mic power/filter models use 3.5 mm mini-stereo input jacks
that fit 'standard' DSM-1S/6S series mics.
New
version PA-10PFC adapter (shown at left) shows upgraded
miniXLR input connection optional (+$50) on all PA adapters
and DSM mic preamplifier models.
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The
second method
of DSM
MIC powering allows a 'Low Cut' bass reduction filter.
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Using
a simple Bass filter during recording is much preferred
to post graphic equalization
during playback as graphic equalizers tend to reduce the
recording quality of the upper frequencies even when control
frequencies are set at zero or 0 DB.
For
Example, voice interviews conducted
near the rumble of nearby motor traffic can be made much
clearer sounding by using an 85 cycle (or higher) Bass
reduction filter.
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A
PA model with low cut filter reduces excessive bass sounds
for cleaner sounding recording .
A
'Lo-Cut' filter (a.k.a., 'Hi-Pass' filter) controls
excessive low frequencies
during the recording process. A benefit depending on
the type of sound/music of interest, and may also depend
on low frequency ambient sounds competing with the recorded
subject of main interest.
NOTE:
Decks with
MOD-2/3
upgrade can also be used with any PA-xx module when
OCCASIONALLY REQUIRING effective low frequency reduction
controlling feature.
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PA-6LC2
.... 85 Cycle Bass Filter .... Switch Defeatable |
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The
PA-6LC2 is one of the more versatile of the PA-x DSM
external powering accessories for recording
contemporary live Jazz, POP/Rock, and Blues performances
where Ambient and/or PA Speakers produce occasional
excessive/boomy bass making recordings muddy sounding
when played on most moderate powered stereo systems.
The
85 LoCUT Switch allows full (MAX) bass whenever
BASS reduction is not desired as for acoustic recording.
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DESCRIPTION
OF BASS REDUCTION MODELS
1) PA-6LC2 with 85 cycle bass
filter that can be turned OFF. This model is
very good for those who also record amplified acoustic-to-jazz
where no bass filter is needed, and also very good for
recording moderate to fairly loud pop/rock (but not too
close to speakers) where 85 cycle bass filter is maybe
best to turn ON.
2) PA-6LC3 with low-to-moderate
40-80-120 cycle bass filter switch selections.
Good for amplified acoustic-to-moderately loud pop/rock
(but not too close to speakers). Filter is always
ON at selected setting.
3) PA-6LC3B adapter is best
solution for moderate-to-very loud rock
(especially in Japan/Germany) with 85-170-250 cycle
bass filter switch selections. This model is very needed
if recording very near to speakers. Filter
is always turned ON at selected setting.
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| DSM
MIC POWER & BASS FILTERS: |
INPUT
JACK TYPE
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| PA-6
Modules are standard with 3.5mm 'Mini-Stereo' mic input jack
and Right/Angle molded plug output |
3.5
mm
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MINI-XLR-3
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PA-6
|
Standard
DSM MIC power; uses (1) AA alkaline type cell (ONLY) |
$125.-
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$155.-
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BASS
FILTERS
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PA-6LC
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Fixed
pop/rock 85Hz bass filter...always on |
$150.-
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$180.-
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ON/OFF
85Hz bass filter; best for acoustic/standard pop/rock |
$225.-
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$255.-
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PA-6LC3
|
40/80/120Hz
Bass LoCut; for little to moderate excessive bass |
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PA-6LC3B
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85/180/250 Cycle LoCut; for moderate to extreme excessive bass |
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Unbalanced type molded dual right-angle 1/4" TRS output
plugs |
$250.-
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$280.-
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Unbalanced
type dual XLR-3 output connectors |
$250.-
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$280.-
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True
balanced dual miniXLR-5F input jack; balanced XLR outputs |
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$650.-
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PA-13
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For
DPA-4060; (2) 9 Volt Lithium; PWR ON LED, 0/20dB Attn,
Bass LoCut |
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$750-
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SPECIFICATIONS
CHART
|
MODEL
|
COST
(USD) |
POWER CELL
|
CELL
½LIFE |
OUTPUT PLUG (Input)
|
CORD LENGTH
|
Hi-Pass
Switch? |
1st
-3 db Hi-Pass
|
2d
-3 db Hi-Pass
|
3rd
-3 db Hi-Pass |
AC Coupling Method
|
Min.
Z Load |
Nom.
Z Load |
Comments |
| PA-6 |
$125
|
(1)AA Alkaline (or L91 Lithium)
|
1,000Hr
(or 2000 w/L91)
|
(1)3.5 mm
(1/8")
Mini-
Stereo
|
2½
ft Newer
'Box-type' PA adapters with 8-10" output cords
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NO
|
9 cycles
|
n/a |
n/a
|
10% Tant.
|
2000
Ohms
or
Higher
|
Normal
@
4700
Ohms
|
Universal
|
| PA-6LC |
$150
|
85 cycles
|
.25%
Precision
Matched
Film
|
Bassy Rock
|
| PA-6LC2 |
$225
|
YES
|
9 cycles
|
80(180) cycles
|
filter on/off
|
| PA-6LC3(B) |
$225
|
40(85) cycles
|
120(250) cycles
|
3-pos.toggle
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| PA-6PFC |
$250
|
(1)AA Alkaline (or L91)
|
2,000Hr (or 4000 w/L91)
|
NO
|
15 cycles
|
n/a
|
n/a
|
Purist Sys.
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| PA-5PFC
|
(2)¼"Mono
|
6 INCHES
|
Semi-Pro
|
| PA-10XP
|
(2)¼"
TS R/A
Molded |
For
Zoom
H4, Microtrack
24/96 Low Profile Dual TRS 1/4" Input |
|
PA-10PFC
|
(2)XLR-3M
|
Pro-Studio
|
| PA-10DXLR5 |
$650
|
(2)AAA
|
1,000Hr
|
(2)XLR-3M
(miniXLR-5F INPUT)
|
10
INCHES
|
9
cycles
|
10%
Tant
|
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| PA-9/PFC |
$450
|
(2)3.6V
|
450Hr/max
|
1/8" Mini- Stereo
|
2½ ft
|
YES
|
9 cycles
|
45 cycles
|
*-15 db Atten/sw.
|
10%Tant.& .25% Film
|
5,000
|
10,000
|
f/DPA-4060
|
| PA-13/PFC |
$500
|
(4)6V/Li
|
350Hr/max
|
f/DSM-13
|
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| PA-6LCxx
User Mode vs. -3 dB Frequency, & 'Bass-Boom' Reduction
Factor
|
| Model |
-3dB
Hz @ Switch Position |
*USER
MODE |
ADDITIONAL
NOTES AND COMMENTS
*USER
MODE describes the effects on the -3 db
frequency rolloff point with:
(1)
DSM MIC > PA adapter
> Deck's MIC input
(2)
DSM
MIC > PA adapter >
PA-3SX preamp input > Deck's LINE
input
(3)
DSM
MIC > PA adapter > Deck's LINE
input
(MOST USEFUL for post-reduction of excessive
low frequency bass sounds on already made
recordings)
(4)
B/B describes the 'MEGA'-Bass-Boom reducing
factor in Decibels at the most common
occurring frequency range of 50-60 Cycles
Only during recording a live
event.
PA-6LC3B
is a more effective version of the PA-6LC3 for
reduction of 'Single Note Mega-Boom' Bass (like
that heard from many Hi-Power Auto-Truck custom
stereo installations) found at heavy metal
Rock/Pop music venues.
|
| #1 |
#2 |
#3 |
| PA-6LC |
85 |
n/a |
MIC(1) |
| 110 |
PA-3SX(2) |
| 65 |
LINE(3) |
| -5
DB |
B/B(4) |
| PA-6LC2 |
8 |
85 |
n/a |
MIC |
| 8 |
110 |
PA-3SX |
| 8 |
65 |
LINE |
| none |
-5
DB |
B/B |
| PA-6LC3 |
35 |
70 |
100 |
MIC |
| 55 |
100 |
125 |
PA-3SX |
| 20 |
55 |
85 |
LINE |
| -2
DB |
-5
DB |
-8
DB |
B/B |
| PA-6LC3B |
85 |
170 |
250 |
MIC |
| 110 |
210 |
275 |
PA-3SX |
| 65 |
130 |
200 |
LINE |
| -5
DB |
-10
DB |
-12
DB |
B/B |
|
|
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Newer
'closed-box-type' PA modules now have option of Switchcraft
unbalanced mini-XLR-3F (single 3-pin).
New
model PA-10DXLR5 is only adapter with true balanced input/output.
This adapter uses Switchcraft mini-XLR-5F (dual 5-pin; shown
at left) input jack connection.
|
|
| PA-10XP
Mic Module for Microtrack & Zoom H4 |
UPDATE
3/18/2007
|
|
 The
MicroTrack & Zoom H4 decks
will NOT
directly power DSM™ stereo-surround microphones.
DSM
mic powering requires at least in-series PA-6 mic powering
into Microtrack's limited gain 1/8" stereo jack, or PA-10XP
into Microtrack or Zoom deck's two 1/4" TRS inputs.
PA-10XP
also protects against accidental MIC damage from applied phantom
power ON/OFF feature of these model decks. NOTE: Zoom
H4 deck has dual balanced XLR mic level only input, BUT unbalanced
1/4" TS jacks are both mic/line input for this deck.
Advanced DSM mic power is
using active PA-24NJ-XP
preamplifier model for line level input to most
decks with TRS line level input ability. Also
see: MT24/96 and ZOOM
H4 deck reviews
|
 $280
USD (as shown
with MiniXLR) |
  Powering
adapters use either 1/8" minijack input of MT24/96,
or modified dual molded output plug into more versatile dual TRS
1/4" mic/line input.
Dual
balanced TRS input seems at least better for advantage
of deck's fullest mic level gain selections not available
on MT24/96 using minijack input.
Using
TRS input gives far more versatility for recording
of pure acoustic sounds to very bass-loud music venue range.
See
also: MT24/96
DECK REVIEW
PA-ADAPTER
BATTERY INSTRUCTIONS
|
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| |
NO
need to open! NEW alkaline AA battery is inside and ready
to work for 1000 to 2000+ hours or change for new after 2
- 3 years. |
|
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Please
remember NO On/0ff switch. Suggest unplug DSM mic same day
after using, then battery is off and lasts for very long time.
|
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If
you leave DSM mic connected, then change 1 AA alkaline battery
every 2-3 months. |
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USING PA-6(xxx) FILTER MODELS
INTO 3.5 MM MICROTRACK INPUT
|
Example:
For pop/rock amplified venues of various types, suggest (models
with bass filter) PA-6LC, 2, 3, or 3B models powering adapter.
These adapters will connect directly to the Microtrack's stereo minijack
input with standard right/angle molded 3.5 mm stereo plug.
However,
if desiring multiple gain selection advantage of using
Microtrack 24/96 TRS mic inputs, similar (output) modified PA
adapters (w/accidental high voltage 'phantom power' protection
circuit) are available as +$75 PA-model with dual R/A molded
TS plug option. Those owning standard PA adapters who now
wish to use MT24/96 TRS inputs may purchase $75 minijack-to-dual
TRS (protected) cable adapter.
|
Both
modified PA model, or separate minijack-to-TRS plug protected
cable adapter have low profile molded TRS 1/4" plugs (above
photo).
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|
