The View Up Here

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Posts Tagged ‘BM-800’

Building the MS Alice Microphone – Part 2

Posted by Tom Benedict on 23/11/2016

This is the second half of a two-part article describing my build of the mid-side Alice microphone, following the Instructable written by Jules Ryckenbusch: Build the MS Alice Stereo Microphone. In Part 1 of this article I ran through how I was planning to build it (mostly following the same steps I used in another two-part series I wrote about another of Jules’s Instructables, Modify a Cheap LDC Condenser Microphone, namely: BM-800 Microphone Conversion Part 1 and Part 2.) I also covered my design for the saddle and post that holds the three capsules in the particular orientations required for Jules’s MS microphone build. (Jules used a different method, using PVC pipe, which you’ll see in his Instructable if you decide to build one of your own.)

Since writing Part 1 all the bits and pieces came in. I was eager to see how the 3D printed saddle and post turned out, and how well the TSB-165A capsules fit.

M-S Alice Capsule Saddle and Post - Unpopulated

I designed the cavities for the capsules at-size, meaning I didn’t leave any slop for fit. The plastic Shapeways uses to make their least expensive printed parts is described as “strong and flexible”. I took them up on that, figuring the part would flex enough to allow the capsules to snap into place. It worked like a charm.

M-S Alice Capsule Saddle and Post - Populated

The fit is snug, but not snug enough to hold the capsules in use. As with my first Alice, I glued the capsules into the saddle with E-6000 adhesive.

I’m a little disappointed with the handling noise on my first Alice mic. I chalk some of that up to the metal saddle and post, but some of it I chalk up to the relatively stiff wire I used to connect the capsule to the PCB. It was stiff enough that manipulating the wire wound up breaking off one of the ground tabs from the TSB-2555B capsule I used on that mic. Rather than repeat that experience, and in an effort to reduce conduction paths for handling noise, I gutted some of the Mogami cable I use for all my microphone projects and used the wires to connect the capsules. (NOTE: It didn’t actually affect handling noise that much. After thumping various bits of the mic, I’ve come to the conclusion the dominant frequency of the handling noise is driven by the resonant frequency of the mesh in the headbasket.)

I already had two Pimped Alice PCBs built, tuned, and ready to go for this project. The remaining steps were to screw one board onto each side of the mic frame, solder the capsule wires to the boards, solder the four 0.022uF capacitors between the ground pin (pin 1) and the remaining pins of the XLR connector (2, 3, 4, and 5), and to solder wires between the XLR and the PCBs.

M-S Alice Internals

Since I oriented the two capsules of the figure-eight mic side-by-side, they won’t fit inside the headbasket with the foam liner in place. So I stripped the foam out before closing up the mic.

The very last step was to build the 5-pin XLR to dual 3-pin XLR splitter cable. There are a number of ways I could’ve done this, but I followed (mostly) Jules’s build on the cable as well, using separate Mogami lavalier cables for each channel. This is a wonderfully floppy wire, and does an excellent job of reducing handling noise transmitted through the cable.

The one change I made to Jules’s design was to jacket the central eight feet of cable in a woven sleeve to keep it from tangling.

M-S Alice Patch Cord

I left the last foot and a half at each end loose, though, to take advantage of the wire’s floppiness. (Hey, that’s actually a word spellcheck recognizes!)

And at long long last I’m able to play with mid-side recording and compare it against my EM-172 based SASS.

SASS vs. M-S Comparison

Big big thanks to the following for making this all possible:

  • Jules Ryckenbusch – for writing the two Instructables that got me going on these microphones
  • Homero Leal – for coming up with the PCB layout for the Alice boards used in Jules’s Instructables
  • Scott Helmke – for designing the Alice circuit in the first place
  • Ricardo Lee and all of the above – for their endless patience with all of my questions and what-ifs
  • Dr. Ing – for designing the Schoeps CMC-5 in the first place, without which none of this would exist

For my own contribution, here’s the link to the MS Alice capsule saddle and post on Shapeways. I’ve listed these at-cost, with no mark up (meaning I don’t see a dime of the 5.35 USD price tag at the time of this writing – labor of love).

Have fun recording!

Tom

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Building the MS Alice Microphone – Part 1

Posted by Tom Benedict on 11/11/2016

This is a short pair of articles that glosses over most of the details of how I’m building a self-contained mid-side (MS) Alice microphone into a Neewer NW-800 microphone body. Part 1 covers most of the design and preparation, and Part 2 will cover the build.

The reason why this pair of articles is so brief is that most of the nitty-gritty was already covered in another pair of articles: BM-800 Microphone Conversion Part 1 and Part 2. The major differences between that microphone and this one are a change in capsules (Transsound TSB-165A instead of a Transsound TSB-2555B), the number of capsules (three instead of one), the number of Pimped Alice boards (two instead of one), and a change tof XLR connector (5-pin rather than 3-pin).

With the exception of how I’m planning to mount the capsules, all of this follows the Instructable written by Jules Ryckenbusch: Build the MS Alice Stereo Microphone. That’s the real reference for this build, so if you decide to build one of these yourself be sure to follow Jules’s notes.

The easy stuff first:

When I built my first Alice microphone I built three PCBs rather than just the one I needed, so I already have two Pimped Alice boards ready and waiting in the wings. I was on the fence whether to build a second mic around a TSB-2555B capsule or go straight to the MS Alice. After some recent field tests, I decided to commit the two boards to an MS Alice.

Jules pulled a neat trick for getting two signals out of a single XLR connector: use a different XLR connector! In his build he replaced the 3-pin XLR that came with his BM-800 microphone with a 5-pin. The two outputs share a common ground, but have independent signal pins. I’m following this part of his plan to the letter. (As a side note, this also gives me a spare 3-pin XLR connector to use when I finally build out my parabolic mic. New project in the works!)

The only things left to do were to order three TSB-165A capsules (done) and to figure out how to mount them.

Jules has a nice tutorial on how to build a 3-capsule saddle out of PVC pipe, but I had so much fun machining a custom saddle for my TSB-2555B capsule, I couldn’t pass up the opportunity to massively over-complicate life by designing a custom saddle for the MS Alice as well. Here’s what I came up with:

MS Alice TSB-165A Capsule Saddle

Which looks neat and all, but would be stupidly difficult to machine. It’s possible, provided you got rid of, or at least filleted the inside corner between the two side capsules, but it wouldn’t be fun. And since this is all about fun, I cheated. I sent it off to be 3D printed out of nylon. (If this pans out and there’s any interest, I’m happy to make the 3D model available for other people to print.)

So now I’m back to playing the waiting game. I’ve got parts coming in from Redco Audio (5-pin XLR to dual 3-pin XLR splitter cable), Mouser (smaller capacitors for the Alice boards to address the space constraint issue I ran into), Amazon (Switchcraft 5-pin XLR connector, NW-800 body, and associated doodads), JLI Electronics (three TSB-165A capsules), and finally Shapeways (the 3D printed mic saddle).

I’ll write the second half of this series once all the goodies show up.

Tom

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BM-800 Microphone Conversion Part 2

Posted by Tom Benedict on 22/10/2016

This is the second half of a two-part article describing my conversion of a BM-800 microphone to an Alice microphone using a Transsound TSB-2555B cardioid capsule. All of this is based off of a pair of Instructables written by Jules Ryckebusch: Modify a cheap LDC Condenser microphone and Build the MS Alice Stereo Microphone.

Part 1 of this article showed pretty pictures of the donor mic (a Neewer NW-800 with an excess of bling), a description of the cable that came with the mic (which I don’t intend to use), photos of the mic in various stages of disassembly, and a CAD drawing of the salient features inside the microphone to help others lay out circuit boards for their own conversions.

Since writing part 1, all of the bits and pieces I ordered to do the conversion arrived: enough electronics to build three Alice boards, and a TSB-2555B capsule to put in the first one.

Everything for an Alice Conversion

Before populating the boards I did a test fit to make sure they would actually fit. I was pleased to see how well the screw holes lined up, and I came pretty close with the taper.

NW-800 With Alice PCB

The next step was to populate the boards. Opinions differ on how to wire the high-impedance (high-Z) end of the board, so I started with all of the low-Z components.

The circuit used in Jules’s first article had zener diodes on the output stage to protect it against over-voltage on the XLR pins. The circuit as-built in his second article omits the zeners since the 2N5087 transistors are rated for more than the 48V likely to be seen on an XLR connector. I ordered the zeners, but left them out for now.

Alice Trio with Low-Z Components

After I’d already wired all the boards I installed one in the mic and ran into my first problem: With the board installed right-side-up, the 47uF capacitor pokes up high enough that it interferes with the body tube. For my first mic I’m planning to install the board up-side-down to give the capacitor more room. But if I wind up building the MS mic from Jules’s second Instructable, I’ll need to install new capacitors that lay flat against the circuit board.

BM-800 Alice Board Placement

The reason for the difference of opinions on the high-Z end of the circuit is that it’s sensitive to contamination: leftover solder flux, dirt, dirt combined with humidity, oxidization, etc. on the high-Z end can all cause unwanted noise in the mic. Jules soldered his components to the board without issue. Others have used Teflon standoffs to float that part of the circuit above the PCB. Homero Leal built his Charis mic by point-to-point soldering the high-Z components, letting them float above the board without standoffs. Scott Helmke, the original designer of the Alice circuit, solders the high-Z components directly to the back of the mic capsule. For my first pass at this I soldered the low-Z legs of the FET to the board, but floated the high-Z circuit without stand-offs, similar to Homero’s Charis mic. I can always change my mind later and re-wire them.

High-Z Components Air-Floated

With the board built, the next step was to add 22nF capacitors between pins 1 and 3 and pins 1 and 2 on the XLR connector to provide additional RF noise filtering. After that I installed the modified connector and the board in the mic body.

Alice Board and XLR with RF Filter Caps

The rest of the action takes place inside the headbasket.

It’s possible to cut away the original mic capsule to leave a saddle for mounting the TSB-2555B, but I wanted to make an entirely new saddle. Chalk some of this up to not wanting to make a modification I can’t back out. Chalk some of it up to my wanting a machining project to go along with the electronics project. Either way it needlessly complicates an otherwise pretty simple project.

Space inside the headbasket is tight, so rather than run into more interference issues I fleshed out the 2D CAD drawing and turned it into a 3D model. The space constraints almost entirely dictated the shape of the new saddle and post. The mic frame is drilled and tapped for M2.5 screws on a 10mmx15mm rectangular pattern, only two of which are used on the original saddle. I chose to use all four. The mic wires pass through holes spaced 20mm apart, centered on the long axis of the bolt pattern. In the CAD model I indicated these with 3.13mm holes, but in the final part I cut them as slots to make installing and removing the capsule easier.

Mic Saddle - CAD vs. As-Built

I attached the TSB-2555B capsule to the saddle with E-6000 silicone adhesive. A better method for the saddle shape I used would’ve been a polyurethane adhesive like Gorilla Glue, but I wanted to be able to remove the capsule in case I decide to add shock isolation inside the mic to cut down on handling noise. As-built the capsule can be removed by passing a fine wire between the capsule and the saddle, cutting the silicone bond.

EDIT: The first time through, I missed an important step: One of the charms of the Pimped Alice circuit is the potentiometer next to the 1Gohm resistor. It allows you to bias the FET properly, regardless of which FET you use. The catch is that by definition, if you don’t do anything with the potentiometer it will not be properly biased! In all ignorance I soldered everything up, closed up the mic, and went testing. Even with an improperly biased FET it still performed beautifully. I did go back and do a proper job of it, though.

In Jules’s first Instructable, toward the end, there’s a nice write-up for how to bias the FET. The catch is that this step must be done before the capsule is soldered to the board.

With the FET properly biased and the capsule attached to the saddle and post, all that was left was to put it all together and close it up.

Finished BM-800 / TSB-2555B Alice

I did a quick side-by-side against one of my Primo-EM184 cardioid mics. The Alice runs a little hotter, but not by too much. I’m reserving further judgement on the new mic until I have a chance to get it out in the field and try it on some quiet sources.

Tom

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BM-800 Microphone Conversion Part 1

Posted by Tom Benedict on 09/10/2016

Several posts ago I mentioned a plan to build an MS mic by following an Instructable written by Jules Ryckebusch. Jules used a BM-800 microphone as a donor mic and replaced its guts with two Pimped Alice circuits and three cardioid capsules. After several Ebay vendors whose listings indicated they would ship to Hawaii later changed their story and said they wouldn’t, I finally picked up a BM-800 microphone off of Amazon. The one I got is a Neewer NW-800. (I liked its shock mount better than the other one I found.) It arrived, and I started poking and prodding at it.

Along the way I discovered another reason to use a windscreen on a microphone. This thing is bling central. To be fair some of the other BM-800 mics I found on Ebay didn’t have nearly as much… presence… but this is the one I could get.

Neewer NW-800 Bling

Unless I’m recording birds that are drawn to shiny objects the windscreen will probably become a permanent fixture on this mic, just to keep me from going blind.

Neewer NW-800 Windscreen

Before tearing into the thing I decided to try it as-is. On the face of it it’s a phantom powered cardioid condenser mic. This means plugging it into a device that doesn’t provide some kind of power (aka my laptop, my phone, even my kids’ desktop computer) won’t work.

The mic has a male XLR jack at the back, and came with an XLR-to-3.5mm cable. 3.5mm inputs that provide power typically provide plug-in-power (2.3V to 5V, depending on the device). XLR inputs provide phantom power (typically 12V, 24V, or 48V). That discrepancy made me a little leery of just plugging this into whatever and cranking volts through it. I started by ringing out the cable to see what it was actually doing.

XLR to 3.5mm Cable

Up to this point all the XLR plugs I’ve dealt with have been for balanced signals. That is to say that one pin of the 3-pin XLR is ground (pin 1), another is the positive signal (pin 2), and the third is the inverse or negative signal (pin 3).

3.5mm inputs typically use a TRS connector and unbalanced signals. In the case of the 3.5mm stereo input on my recorders the tip is the left positive channel, the ring is the right positive channel, and the sleeve is ground.

The cable supplied with the BM-800 ties XLR pins 1 and 3 together and routes them to the sleeve of the 3.5mm plug, and routes XLR pin 2 to both the tip and ring of the 3.5mm plug. This effectively turns the balanced output of the mic into two channel mono unbalanced output on the 3.5mm plug, meaning it should be able to be plugged into any 3.5mm stereo input and drive both left and right channels with the same signal. Neat!

What this also means is that as long as the mic can run on a wide range of voltages, the plug-in-power on any recorder should be able to drive this thing. So should the battery box I got from Church Audio. Or by removing the XLR-to-3.5mm cable and plugging in an XLR-to-XLR cable, I should be able to power it with phantom power (12V or 48v – the only two options on my recorder) and use it as a single channel balanced input.

Still leery of running such a wide range of voltages through it, I tried all three configurations anyway. I’m planning to gut this mic, after all, so if I burned it out the loss would be minimal. To my surprise all three worked! The plug-in-power on my DR-70D puts out a little under 3V, and my battery box from Church Audio puts out a little over 9V with a fresh battery. The 48V phantom power on the XLR inputs on the DR-70D put out right around 48V. I noticed a gain difference between the PiP and battery box, but because of the different gains on the XLR vs. 3.5mm inputs on the DR-70D I wasn’t able to tell if the additional voltage was doing anything to the mic itself. (My guess is it doesn’t. To survive that wide a range of voltages I’m guessing the mic has a voltage regulator on board. Past a certain point it’s just dissipating as heat.)

So how does it sound?

Um…

How to put this…

I’ve seen the shock mount it came with listed for more than what I paid for the mic. I don’t think this is too far out of line with how it sounds. It’s not bad, mind you. It’s just not anything I’d write home about. A little creative EQing would probably make it a decent podcast microphone. But as for making ambient nature recordings? Mmmm… no.

So without further ado I tore into it to see what I was going to have to deal with.

Neewer NW-800 Disassembly: Assembled

The first step in disassembling the microphone is to unscrew the butt cap. This also releases the shell, which simply slips off to expose the circuit board. The shell is keyed to a tab just under the headbasket which fixes the orientation of the logo on the mic. This is important since the mic is a side-entry rather than end-entry, meaning sound must enter from the side and not the end. Added to that, it’s a directional microphone so it’s only sensitive on one side. Can you guess which side? (Answer: The one with the logo.)

Neewer NW-800 Disassembly: Shell Removed

Some nice features on the inside of the thing: First, there’s a ton of room. Second, there’s a nice frame with mounting holes tapped for M2.5 screws. (More about those in a sec.) The only weird part is the taper on the frame and the circuit board. I like the look of the tapered board, so I decided to taper the boards for my Alice conversion, too, and put mounting holes in the boards to make use of the holes in the NW-800 frame.

Neewer NW-800 Disassembly: Headbasket Removed

Two M2.5 flat head Phillips screws hold the headbasket in place. They’re located just under the headbasket, above the circuit board. Once the screws are removed the headbasket lifts off, exposing the capsule.

Despite the appearance, the capsule in this mic is the same size as the EM-172 and the EM-184 capsules from Primo: 10mm diameter. At this point I was sorely tempted to gut the mic, drop an EM-184 capsule in the mic saddle, and call it quits. But the whole purpose of this exercise is to move beyond Primo all-in-one capsules and try my hand at building more complicated (and better performing!) microphones.

Neewer NW-800 Disassembly: Circuit Board Closeup

All of this starts with the circuit board.

Simple stuff first: The screws are M2.5, spaced 30mm apart. They’re biased a couple of millimeters above the centerline of the cavity. If you’re planning to make a rectangular circuit board to fit inside this mic, that’s probably all you’ll need. (The tube with the logo has vertical walls, so a rectangular board will fit fine.)

Since I wanted to make a tapered board I measured the whole cavity and threw it into CAD. At some point I’ll draw it in 3D, but for now a 2D representation is plenty for me to design the new board outlines. I’m building the Alice boards using through-hole components, so I needed a little more real estate than the original board provided. The 2D drawing of the cavity and the new board outline looks like this:

2D CAD - NW-800 Cavity and Board Outline

I sent the boards out for fab and ordered enough components from Mouser to build out three of them. One is destined to receive the TSB-2555B capsule I ordered from JLI. The other two will eventually be used to build a copy of Jules’s MS mic using three TSB-165A capsules, but that’s a project for another time. Once all the bits arrive I’ll write the second half of this article, which will cover the construction of the TSB-2555B mic.

Tom

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Building New Mics

Posted by Tom Benedict on 17/09/2016

When you’re faced with a dilemma like choosing the next step to improve your recording gear, instead of finding the right answer to the question, sometimes it’s more fun to dodge the issue completely and go off on a tangent.

So I went off on a tangent! Building new microphones!

I’ve currently got two projects in the works. A parabolic mic and a self-contained mid-side mic.

The Parabolic

I’m basing my parabolic mic off of the family of parabolic mics  from  Telinga Microphones. The mics from Telinga offer all kinds of neat options. One contains a cardioid mic facing the parabola and an omni facing away from the parabola. This lets you record a distant sound and the ambient sound field at the same time on two different channels. Another contains two omnis on either side of a baffle plate so you can record a distant sound in stereo.

But at its simplest, a parabolic microphone uses a parabolic reflector to direct pressure waves at a single microphone located at or near its focus. That’s where I’m starting.

I picked up a 22″ parabolic dish from sdill471 on Ebay. He sells them for around 50USD and ships all over the place, including Hawaii (yay!), using USPS shipping.

The microphone for this project is the first EM-172 lavalier mic I built back when I started building external mics for my DR-05. It’s since been converted to XLR and received the full shielded treatment the rest of my EM-172 mics got when I did that conversion.

The rest of the project will be to make all the mechanical bits to place the EM-172 mic at the focus of the dish. I’m drawing a good bit of inspiration from WW Knapp’s Homemade Parabolic Mic page, though I’m making two big departures Knapp’s design: The first is to think more in terms of parts I can make in a machine shop rather than what I can find at the hardware store. (This departure is called “needlessly complicating a good, simple design”.) The other is to take a tip from Klas Strandberg at Telinga: You don’t always want the mic to be at the exact focus of the paraboloid. Having the ability to rack the microphone through focus gives you some much needed flexibility in the field to widen or narrow the pickup pattern of the mic, or even to tune which frequencies are focused on the mic by the dish.

I’ll post the design and build articles once I’ve finished the mic.

Mid-Side Microphone

The entire idea for the self-contained mid-side microphone comes from an Instructables article written by Jules Ryckebusch. Jules took a BM-800 mic – about ~20USD off of Ebay depending on the seller – gutted it, and replaced its innards with two Pimped Alice amplifier boards and three TSB-165 capsules. The really clever part is how he did it, but for any of that to make sense it helps to understand how mid-side microphones work.

The easiest way to understand mid-side recording is to read a really good article about it. What I wrote below won’t be nearly as good, so I urge you to follow that link. That being said, here’s my take on mid-side:

Back when recording was in its infancy no one even thought in terms of stereo recordings, quadrophonic, 5.1, 7.1, or any of the other immersive formats we’ve since come up with. Mid-side was one of the earliest stereo techniques, patented by Alan Blumlein in 1933.

Mid-side uses two microphones: one to pick up the center part of the sound field (the “mid” mic) and another to pick up the sound on either side (the “side” mic). In most cases the mid microphone is a cardioid, which preferentially picks up sound in front of the mic. In all cases the “side” mic is a figure-eight – a microphone that picks up sound in two opposite directions, but nowhere else.

To create what we consider a conventional Left-Right stereo image from a Mid-Side (M/S) recording requires a little math. The equations look like this:

Left = Mid + (+Side)

Right = Mid + (-Side)

In the equations the Mid channel is taken as-is. The Side channel is used twice: first it’s used as-is (+Side) and the second time it’s used inverted (-Side).

As wonky as that sounds, and as convoluted as the post-processing sounds, it offers some distinct advantages when mixing the tracks afterward. Want a wider stereo sound? Mix in a little more of the Side channel and a little less Mid. Want to focus the listener’s attention on the bird in front of the mic and down-play the forest full of frogs chirping in the background? Bump up the Mid and turn down the Side. Want to mix a mono track to go with an accompanying video on Youtube? Use only the Mid channel for clean mono without any phasing issues. The real strength of mid-side is the flexibility and versatility it offers after the fact.

The one catch with mid-side, as with all stereo techniques, is that it requires two distinct microphones. ORTF requires two cardioid mics and a bar to mount them on. A/B requires two widely spaced omnis. Even my SASS consists of two omni mics mounted in an admittedly rather large baffle. M/S is no different, requiring a cardioid and a figure-eight.

What makes M/S special is that you want the microphones to be as close to each other as you can get them. By its very design it’s inherently physically compact. (Side note: This is true of X/Y as well, which uses two cardioids pointing 90 degrees to each other, and of the Blumlein arrangement, which replaces the cardioids with figure-eights.)

Which leads us back to Jules’s M/S microphone, which takes “compact” to a new level by cramming multiple microphones into just one mic body. That makes for a light, portable recording kit that’s quick to set up and tear down; perfect for traveling, or for recording subjects that require substantial hiking to reach.

So why three capsules instead of two? Jules realized that if he took two of the TSB-165 cardioid capsules, faced them in opposite directions, and wired them 180 degrees out of phase with each other in series, they act like a single microphone with a figure-eight pickup pattern. Add a third TSB-165 capsule in the center and you have all the makings of a well matched mid-side microphone.

Where Things Stand Now

My parabolic reflector arrived last week. The mic for the parabolic project is already in-hand, though I may have to (yet again) cut it out of its housing and install it in a new one. I’m in the process of designing the mechanical bits, and should be able to start making them in the next couple of weeks.

I ordered the BM-800 donor mic for my mid-side mic just this morning. Jules posted a link to download the Pimped Alice PCB files that Homero Leal designed based off of Scott Helmke’s original Alice design. Once I have the board mounting hole pattern off of the BM-800 microphone, I’ll add those to Homero’s PCB layout and send the files off to OSH Park for fab.

Work on both of these is contingent on my getting a number of other gotta-do’s off my plate, but I hope to make some progress on both in the next couple of weeks.

Tom

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