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Thread: Teac Model 5 mic preamp phase?

  1. #11
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    i think i may have figured this out ...

    everything that is unbalanced does not matter, it already has "correct" polarity (for instance, a mic placed in frony kick drum moves forward from the speaker instead backward into the speaker when playing back) inherently since it is "hot" only.

    when using a balanced line, if i use a "pin 2 hot" connector into a "pin 3 hot" input, i have a reversal. so all of my line signals going in are going to have a reversed polarity from all of my mic preamp signals!

    if i use an external preamp, "pin 2 hot" with a "pin 2 hot" xlr, then go into the tape machine, the polarity will be correct. but then it will be mixed with my other tracks, some of which are correct (the ones that began as direct lines) and some of which are incorrect (the ones that began as mic/xlr).

    so the only way for all of it to be correct polarity is to use "pin 3 hot" wired xlr, or use adapter cables like the previous poster suggested.

    but after researching this issue, i am not sure that i care if the polarity is correct or not. it seems that in the 1960s (and before) and even into the '70s, there was no standard so "pin 2 hot" and "pin 3 hot" were used interchangably. for instance, if you recorded some tracks on an ampex machine, then played that tape back on a studer and overdubbed more tracks, you would have some tracks with correct polarity and some tracks with incorrect polarity.

    of course, it also depends on how you recorded it in the first place. if you placed a mic on the drummer's side of the kick, the attack would recede from the speaker. if you reverse the polarity, the speaker would move forward.

    i have no idea what happend if the mic was at the side of the kick!!!

  2. #12
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    Quote Originally Posted by lonewhitefly View Post
    i am not sure that i care if the polarity is correct or not.
    Probably the only time you if you recorded like say...a guitar with two going through the Model 5 and another going through an outboard preamp...and then both going to some third device where everything stayed balanced.

    What would happen of one mic the guitar signal would begin from the positive "up" side of the wave cycle, and on the other from the negative "down" side of the cycle.

    If you then combined would get frequency cancellations and comb filtering....and a rather hollow-ish sound.
    Most people would be able to hear this and know that something was wrong...but there are times when two reversed polarity signals would not be quite noticeable, and since they are not perfect reverse images of each other (two different mics/pres)...they would not completely cancel out, but would just sound kinda weak and "empty" could get by in a busy mix which would only make you go nuts trying to EQ-fix what was a simple polarity issue.

    But seem to have gotten a solid grip on the whole I don't think you need to worry about anything!

  3. #13
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    yes, steve hoffman says that most multi-track recordings are about 50/50 in terms of "correct" absolute polarity ... with different sources within the same songs, etc.

    i rarely (almost never) use more than one mic on a source (except maybe 2-3 on drums) and i rarely (almost never) use external mic preamps!

    thanks for your help while i worked all of this through my head! ...

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