SV Sound SX-ST Manual Do Utilizador
SX-ST / SX-SV User Manual
page 11
4. MIC / LINE INPUT MODULE
Traditional professional mixing consoles are generally based on the same input
structure. The signal from the microphone goes through a phase reversal switch
and then to a pad to attenuate the signal before going to the first amplification
stage. Some mixers even introduce a transformer before the first stage to simplify
the circuits. Reducing the signal level before amplifying it increases noise. It also
limits the range of input signal that can be accommodated before overload
distortion occurs. Some consoles even add a LF Cut before the transformer to
avoid saturating it in presence of low frequencies at high level, meanwhile this
might be useful under certain conditions, like strong wind noise, this causes
phase shifting.
For ages this type of circuit has been used for analogue recording and nowadays
The new
structure. The signal from the microphone goes through a phase reversal switch
and then to a pad to attenuate the signal before going to the first amplification
stage. Some mixers even introduce a transformer before the first stage to simplify
the circuits. Reducing the signal level before amplifying it increases noise. It also
limits the range of input signal that can be accommodated before overload
distortion occurs. Some consoles even add a LF Cut before the transformer to
avoid saturating it in presence of low frequencies at high level, meanwhile this
might be useful under certain conditions, like strong wind noise, this causes
phase shifting.
For ages this type of circuit has been used for analogue recording and nowadays
The new
SONOSAX SX-ST
&
SX-VT
input stages do not reduce the microphone
level before amplification. Instead we control the amount of amplification and
therefore no additional noise is introduced by this method. Using transformer less
circuitries avoids unnecessary phase shifting, eliminate the risk of transformer
saturation at low frequencies, offers a much better slew rate and allows very wide
bandwidth with a flat frequency response as required for SACD
With a careful design of the input amplifier stages and selecting only the best of
today's available components, it is now possible to handle a significant increase
in the input level before overload. Conventional input stages require the operator
to do a delicate balancing act between the input gain control and the channel
fader to prevent unexpected input overload or so much gain that the noise comes
up. Thus, heretofore unattainable low noise input figures and high input
headroom figures are a reality.
therefore no additional noise is introduced by this method. Using transformer less
circuitries avoids unnecessary phase shifting, eliminate the risk of transformer
saturation at low frequencies, offers a much better slew rate and allows very wide
bandwidth with a flat frequency response as required for SACD
With a careful design of the input amplifier stages and selecting only the best of
today's available components, it is now possible to handle a significant increase
in the input level before overload. Conventional input stages require the operator
to do a delicate balancing act between the input gain control and the channel
fader to prevent unexpected input overload or so much gain that the noise comes
up. Thus, heretofore unattainable low noise input figures and high input
headroom figures are a reality.