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The S-VID-A $350.00 USD module is 75 ohm terminating, and directly connects to the preamplifier's 22' high power output cable at (d), or any length of standard commercial S-VHS patch cable at (e). Two types of output jacks, 3.5mm at (f) and RCA phono at (g) for dual recording. A 0/6dB ATTEN switch (h) ONLY works the RCA jacks. PA-3SX Portable Preamplifier Starting at $450.00 USD FEATURES: Low cost Hi-build quality Smallest pager size Low noise, 20/28/36 dB gain 500+ hours on (2)L91 AA cells 7-to-55,000+ Hz frequency bandwidth Low battery + near clip LED indicator PA-3SX for 3.5 mm line input recorders PA-3SX-U model w/universal output plug CLICK HERE for OWNERS MANUAL At right ($480 usd) PA-3SX with locking professional quality miniXLR-3F input jack shown Velcroattached to Edirol/Roland R-09 deck backside. UNIVERSAL OUTPUT ($510 usd) PA-3SX-U preamp model with both input/output miniXLR-3F/M jack/universal output plug for using with optional adapter(s) to fit any type recorder input. Available output plug adapters include (miniXLR-3F jack to) 3.5 mm stereo R/A plug (MD/DAT/R-09, more) Dual R/A 3.5 mm TS plug for MR-1 line input Dual XLR-3M (unbalanced) standard size plugs Dual R/A 1/4" TS (unbalanced) phone plugs A practical daylight LCD viewing solution for R-09 in the form of a snug-fitting molded clamshell case. (Shown below.) The R-09 VIEW CASE not only protects the deck from bumps and scrapes, there's a very effective integral viewing hood inside. This viewing hood provides the deep shade needed to keep the LCD from washing-out in bright daylight. The DAYLIGHT VIEW CASE is a SonicStudios.com exclusive and a must for practical R-09 field protection/display Monitoring. CLICK HERE FOR R-09 REVIEW PAGE R-09 VIEW CASE is $25 USD + Shipping Practical/more affordable (than larger/very costly Zaxcom's DEVA IV) portable hard-disk model Edirol R-4 (PRO) and Sound Devices SD-744T 4-channel recorders are completed with one of two Sonic Studios 4-channel preamplifier models specially configured for exceptional performance surroundsound recording system using DSM-4CS HRTF mic array. 4-CHANNEL PREAMPS FOR DSM-4CS SERIES SURROUND MICROPHONES SYSTEMS Sound Devices SD744T's input requirement is a very high +22 dBu. Also CHANNELS 1/2 line-in's are standard XLR-3F type, but 3/4 is miniXLR-3F type. PA-12SX4 model has different internal amplifiers running off +/- 15 internal high voltage supply being powered by external BD- 16XS regulated D-cell power sled. PA-12SX4 outputs full +24 dBu balanced signal with miniXLR fitting SD-744T channels 3/4. Also dual XLR-3M output adapter for DEVA IV or any balanced professional high dBu line level recording application using standard size connectors/extension cables on all 4 channels. Edirol R-4(PRO) 4-channel line input signal requirement is a modest +4 dBu. This allows using all-in-one PA-24CS preamp model as shown at right running +100 hours on internal +/-3 volt supply using (4) AA cells.
PA-6LCxx Bass Filter Series BASS Low-CUT FILTER & Mic Powering ADAPTERS See DSM Powering Page The PA-6LC, PA-6LC2, PA-6LC3, and newer PA-6LC3B power adapters power DSM microphones and provide up to 3 choices of Bass LoCut frequencies for recording sounds with excessive or unwanted low frequencies. Having a BASS LoCut filter as an option is especially valuable for recording very loud live rock-type music in concerts and small clubs that often exaggerate bass sound for a more exciting time at the show. Cranking up the bass does sound and feel great during the live performance, but makes for an extremely unbalanced 'muddy' sound when played back by even the most powerful home speaker (and headphones) systems. Recent venue trends for 50- 60 cycle Mega Boom Bass requires the increased Bass control of newer PA-6LC3B with up to 13 dB reduction of 60 cycle Bass-Boom. Low frequency filtering (Low Cut) is also useful for reducing recorded traffic rumble noise during street interviews Without using a LoCut during the recording of 'WAY-OVER-THE-TOP BOOMY-BASS' music venues, the home system must provide 99% of its available power to reproduce just the low frequency bass portion of the recording. This leaves very little power for the vocals, lead guitar, Hi-hat symbols, and other sounds that also need to be heard undistorted during playback. Unless you have 1-2 thousand watts and a devoted 'state-of-the-art' sub woofer (or headphones system), there is little chance of supplying the original loudness required to reproduce a gut-thumping bassy recording with the high's audible or undistorted without reduction of bass frequencies below 100 cycles during playback. A common procedure of equalization with a three-knob tone control (Bass-Mid-High) or 10-band graphic equalizer usually does the trick at the expense of increasing the phase distortion at higher frequencies. A better solution is to reduce only the exaggerated sounds below 100-200 cycles during such recordings with a simple Hi-Pass filter (a.k.a. LoCut) that leaves all other frequencies above fully intact without incurring phase or amplitude distortions. The PA-6LC3 has (3) three user selectable switch positions and can also be used after-the-fact to reduce excessive bass on already tape recorded programs when placed in-series at the analog LINE output of the playback deck. The upper curve illustrates a very bassy live show with sound that's exaggerated at low frequencies for a 'gut-thumping-feel' effect. The middle flat curve shows the effect of using the PA-6LC3 a 180 Hz setting during the recording of the same show. The lower shows just the LoCut effect or the PA-6LC3 180 Hz setting if used to record on a normal bass content show. Also Available: PA-6LC* ($150)...Fixed at most popular POP-ROCK 85 cycles music setting *PA-6LC IS NOT switchable, but lower cost and most effective for Loud Very Bassy Rock PA-6LC3B (85/180/250) For Extreme 'CAR-Stereo-Type' 50-60 Cycle Single-Note-Mega-Boom-Bass control and for recording Metal Rock when extremely close to the PA speakers. Gives a much clearer recording with far less chance of deck mic input overload distortion. ADAPTERS & PATCH CORDS (See DSM Powering Page for Details) Now Record live highest quality audio on both your portable recorder & camcorder by connecting the two together. This custom designed patch cable connects to both your deck's ministereo headphones output jack and the external mic input of most camcorder models. One beneifit of using this patch is replacing low quality camera on-board mics with your choice of higher quality audio signal from an external recorder. Also, using a recorder's headphone output allows camera recording volume adjustment making it easier to avoid overloading a camera's low level mic input. The in-line jack allows headphones monitoring, or use this for patching to another recorder's audio input.
Page 1 and 2: Sonic Studios RECORDING ACCESSORIES
Page 3 and 4: Keeping this in mind, Sonic Studios
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