Download - Sonic Studios

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.