"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Arny Krueger" wrote in message
...
"Keith G" wrote in message


Also, see: 'Excellent as a Tube DI XLR and 1/4" Inputs'
- does this mean I would/could run a keyboard or (dare I
suggest it) a digital piano through one of these with
some expectations of success?

Yes. There's no need to worry about the phantom voltage
setting because the user manual states that the phantom
power is only available on the XLR input.



Which is good, but that's the 'Also, see' - what about
this bit:
"Which you will see have a 'third knob' for 'ART's new V3
(Variable Valve Voicing) Technology'...???

I've always ignored it and used it 'Flat' but what does
it do?

It does a number of things.

In the first generation of this device, there was a knob like this that
varied the ratio between signal that went through the tube, and the signal
that bypassed the tube. In short, it controlled the amount of nonlinear
distortion.

In this generation, they've added other functions that appear to be
layered on top of the control over added nonlinear distoriton that was
always there. One of the added functions is no added function at all. IOW
it duplicates what earlier generations of the device did.

What's actually happening/being done to the signal
when it is turned through the various 'instruments'?
(I'll have to have a fiddle with it sometime!)"

Here's the key Keith. It is obviously a device that has an audible effect.
As the operator of the device, it is up to you by experimental means, to
see how it effects the sounds of the various instruments that you process
with this box.

I would hook this thing up in a normal signal path for playback, and play
back various recordings and find out what the audible effects are, in
accordance with your perceptions and preferences. Treat it like a tone
control or some such.

That's what an intelligent person does with any audio signal processor,
especially one with a number of knobs to turn.



Hey Toopid, if I twist the knob this way and that and make it sound like you
make your goat sound, it still wouldn't tell me what was ****ing *happening*
to the signal, would it? You missed (or, more likely, avoided) this bit:

"What's actually happening/being done to the signal when it is turned
through the
various 'instruments'?"

Arny Krueger wrote:

Here's the key Keith. It is obviously a device that has an audible effect.


No **** Sherlock. You must be a ****ing Harvard graduate.


--
Bill Coombes

"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Iain Churches" wrote in message
...

"Dave Plowman (News)" wrote in
message ...
In article ,
Iain Churches wrote:

Most devices that suply phantom power, do so to
XLR sockets only. But there are exceptions. I have
a Ducane supply where the DC appears on the
TRS connectors also.

So it is good practice *always* to ensure the phantom
is switched off before inserting or removing any
connector. That way you won't get caught out.

I've seen plenty of installations where the console
supplies the phantom powering so that goes via the
jackfield.

Why does it need to go to the jackfield?

To avoid making super-duper transients when you plug and unplug jacks in
the jackfield?

If the phantom power bypasses the jackfield, every mic that is plugged
into a wall plate constantly receives phantom power, whether it is
jumpered into the console or not.

Yes. That's thr normal state of affairs.

If the phantom does not bypass the jackfield, every mic that is plugged
into a wall plate eceives phantom power only when it is jumpered into the
console.

So are you advocating TRS jackfield connections at mic level?
Most studios try to avoid that.


If you unplug and plug jumpers on the jackfield, the phantom is applied
and removed from the mics.

See above.



Applying and removing phantom power from
a mic usually creates some pretty big transients, especially if the mic
relies on phantom power.

Some but not all consoles have a phantom switch. But normally.
consoles such as Neve, Studertm SSL have phantom running
permanently to mic inputs.

Which is only applied to the XLR input, when it is turned on.


I suggested to Keith that it is good practice to ensure that any
box has the phantom switched off when plugging in or removing
*any* cable. That way one doesn't get caught out. There are
boxes witn phantom on TRS also. Ducane is one of them.

"Iain Churches" wrote in message

"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Iain Churches" wrote in message
...

"Dave Plowman (News)" wrote in
message ...
In article ,
Iain Churches wrote:

Most devices that suply phantom power, do so to
XLR sockets only. But there are exceptions. I have
a Ducane supply where the DC appears on the
TRS connectors also.

So it is good practice *always* to ensure the phantom
is switched off before inserting or removing any
connector. That way you won't get caught out.

I've seen plenty of installations where the console
supplies the phantom powering so that goes via the
jackfield.

Why does it need to go to the jackfield?

To avoid making super-duper transients when you plug and
unplug jacks in the jackfield?

If the phantom power bypasses the jackfield, every mic
that is plugged into a wall plate constantly receives
phantom power, whether it is jumpered into the console
or not.

Yes. That's thr normal state of affairs.

If the phantom does not bypass the jackfield, every mic
that is plugged into a wall plate eceives phantom power
only when it is jumpered into the console.

So are you advocating TRS jackfield connections at mic
level? Most studios try to avoid that.

I favor avoiding TRS connectors wherever possible, including jackfields.

If you unplug and plug jumpers on the jackfield, the
phantom is applied and removed from the mics.

See above.

Applying and removing phantom power from
a mic usually creates some pretty big transients,
especially if the mic relies on phantom power.

Some but not all consoles have a phantom switch. But
normally. consoles such as Neve, Studertm SSL have
phantom running permanently to mic inputs.

All logical permutations have exemplars. Global phantom always on, Global
phantom with a switch, phantom power switch for each input, no phantom power
anywhere.

Which is only applied to the XLR input, when it is
turned on.

I suggested to Keith that it is good practice to ensure
that any box has the phantom switched off when plugging
in or removing *any* cable. That way one doesn't get
caught out.

Good practice, but it doesn't always happen. In Keith's situation where
there are at most 2 mic inputs, yes he should follow that protocol.

There are boxes witn phantom on TRS also.
Ducane is one of them.

An exception does not disprove the rule.

Ducane or Dukane?

"Keith G" wrote in message

"Arny Krueger" wrote in message
news
"Keith G" wrote in message

"Keith G" wrote


OK, here's tonight's fun - Swim Bo got a Duets book
today, so here she is playing with hers... - never
mind: http://www.moirac.adsl24.co.uk/shown...derleyDuet.wav

http://www.moirac.adsl24.co.uk/shown...heMoonDuet.wav


Hideous yet strangely compelling, eh?


I'm surprised no-one's commented on these - if only to
take the ****!

Most pros avoid stuff like this. It's an EFX box
masquerading as a mic preamp.

Most pros track clean, and apply EFX in the mix.

What TF has what 'most pros' do got to do with me or just
about every other *non trade* hobbyist/enthusiast in this
*non pro* recreational newsgroup...??

That comment speaks to considerably arrogance and stupidity.

The reasons for tracking clean apply to everybody.

But why waste time explaining them to people who proudly poke their own eyes
out?

(If you rummage about about a bit, there's a hint in
there for all 'pro' types to take a hike, but
unfortunately that wouldn't include *you* would it, Amy?)

Talking about arrogance, personified!

"Keith G" wrote in message

"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Arny Krueger" wrote in message
...
"Keith G" wrote in message


Also, see: 'Excellent as a Tube DI XLR and 1/4"
Inputs' - does this mean I would/could run a keyboard
or (dare I suggest it) a digital piano through one of
these with some expectations of success?

Yes. There's no need to worry about the phantom voltage
setting because the user manual states that the phantom
power is only available on the XLR input.



Which is good, but that's the 'Also, see' - what about
this bit:
"Which you will see have a 'third knob' for 'ART's new
V3 (Variable Valve Voicing) Technology'...???

I've always ignored it and used it 'Flat' but what does
it do?

It does a number of things.

In the first generation of this device, there was a knob
like this that varied the ratio between signal that went
through the tube, and the signal that bypassed the tube.
In short, it controlled the amount of nonlinear
distortion. In this generation, they've added other functions that
appear to be layered on top of the control over added
nonlinear distoriton that was always there. One of the added functions is
no added function at all. IOW it
duplicates what earlier generations of the device did.
What's actually happening/being done to the signal
when it is turned through the various 'instruments'?
(I'll have to have a fiddle with it sometime!)"

Here's the key Keith. It is obviously a device that has
an audible effect. As the operator of the device, it is
up to you by experimental means, to see how it effects
the sounds of the various instruments that you process
with this box. I would hook this thing up in a normal signal path for
playback, and play back various recordings and find out
what the audible effects are, in accordance with your
perceptions and preferences. Treat it like a tone
control or some such. That's what an intelligent person does with any
audio
signal processor, especially one with a number of knobs
to turn.

Hey Toopid,

Kitty really knows how to hold up his end of a polite conversation, doesn't
he! :-(

Iain Churches wrote:
"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

Most devices that suply phantom power, do so to
XLR sockets only. But there are exceptions. I have
a Ducane supply where the DC appears on the
TRS connectors also.
So it is good practice *always* to ensure the phantom
is switched off before inserting or removing any connector.
That way you won't get caught out.
I've seen plenty of installations where the console supplies the phantom
powering so that goes via the jackfield.

Why does it need to go to the jackfield? The mic inputs are
usually XLRs on wall boxes, and hardwired to the console
inputs.


Very often in pro installations the wall boxes go via the console jackfield

Cheers

Ian

But what we are talking about here is a small preamp/FX
unit that Keith has, which also supplies phantom.

Iain

"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Arny Krueger" wrote in message
news
"Keith G" wrote in message

"Keith G" wrote


OK, here's tonight's fun - Swim Bo got a Duets book
today, so here she is playing with hers... - never
mind: http://www.moirac.adsl24.co.uk/shown...derleyDuet.wav

http://www.moirac.adsl24.co.uk/shown...heMoonDuet.wav


Hideous yet strangely compelling, eh?


I'm surprised no-one's commented on these - if only to
take the ****!

Most pros avoid stuff like this. It's an EFX box
masquerading as a mic preamp.

Most pros track clean, and apply EFX in the mix.

What TF has what 'most pros' do got to do with me or just
about every other *non trade* hobbyist/enthusiast in this
*non pro* recreational newsgroup...??

That comment speaks to considerably arrogance and stupidity.

The reasons for tracking clean apply to everybody.

But why waste time explaining them to people who proudly poke their own
eyes out?

(If you rummage about about a bit, there's a hint in
there for all 'pro' types to take a hike, but
unfortunately that wouldn't include *you* would it, Amy?)

Talking about arrogance, personified!



Is 'arrogance' your shield today, dummy?

What is 'pro' about you? I thought that little con had been blown apart in
the cesspit groups you frequent - no?

"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Arny Krueger" wrote in message
...
"Keith G" wrote in message

"Arny Krueger" wrote in message
...
"Keith G" wrote in message


Also, see: 'Excellent as a Tube DI XLR and 1/4"
Inputs' - does this mean I would/could run a keyboard
or (dare I suggest it) a digital piano through one of
these with some expectations of success?

Yes. There's no need to worry about the phantom voltage
setting because the user manual states that the phantom
power is only available on the XLR input.



Which is good, but that's the 'Also, see' - what about
this bit:
"Which you will see have a 'third knob' for 'ART's new
V3 (Variable Valve Voicing) Technology'...???

I've always ignored it and used it 'Flat' but what does
it do?

It does a number of things.

In the first generation of this device, there was a knob
like this that varied the ratio between signal that went
through the tube, and the signal that bypassed the tube.
In short, it controlled the amount of nonlinear
distortion. In this generation, they've added other functions that
appear to be layered on top of the control over added
nonlinear distoriton that was always there. One of the added functions
is no added function at all. IOW it
duplicates what earlier generations of the device did.
What's actually happening/being done to the signal
when it is turned through the various 'instruments'?
(I'll have to have a fiddle with it sometime!)"

Here's the key Keith. It is obviously a device that has
an audible effect. As the operator of the device, it is
up to you by experimental means, to see how it effects
the sounds of the various instruments that you process
with this box. I would hook this thing up in a normal signal path for
playback, and play back various recordings and find out
what the audible effects are, in accordance with your
perceptions and preferences. Treat it like a tone
control or some such. That's what an intelligent person does with any
audio
signal processor, especially one with a number of knobs
to turn.

Hey Toopid,

Kitty really knows how to hold up his end of a polite conversation,
doesn't he! :-(


Check my responses to others: you should see a simple pattern in them -
those that give respect and are polite to me get polite and respectful
responses from me; those who act and post like arseholes get the other
thing.

Then work out where you fit in....

In article ,
Iain Churches wrote:
I've seen plenty of installations where the console supplies the
phantom powering so that goes via the jackfield.

Why does it need to go to the jackfield? The mic inputs are
usually XLRs on wall boxes, and hardwired to the console
inputs.

Only in those tiny studios you know about. TV studios generally have far
more wall box mic inputs than desk channels, so have to be patched.
Roughly in a 4:1 ratio. And because of the length of the runs parallel mic
inputs per channel as found in some recording studios isn't a good idea.

You really should get out more, Iain. And learn about how other branches
of the industry do things. Rather than just glancing and turning up your
nose.

But what we are talking about here is a small preamp/FX
unit that Keith has, which also supplies phantom.

Since when did you or Kitty stay strictly to the thread?

--
*Why is it called tourist season if we can't shoot at them?

Dave Plowman London SW
To e-mail, change noise into sound.