Welcome to No Limit Sound Productions

Company Founded
2005
Overview

Our services include Sound Engineering, Audio Post-Production, System Upgrades and Equipment Consulting.
Mission
Our mission is to provide excellent quality and service to our customers. We do customized service.

Saturday, June 23, 2018

Q. Should I opt for active or passive monitors?

By Hugh Robjohns
One advantage of passive monitors is that the two components of your monitoring system — the speakers and the amp — can be upgraded separately, allowing a more gradual and less expensive progression to better-quality gear. 
One advantage of passive monitors is that the two components of your monitoring system — the speakers and the amp — can be upgraded separately, allowing a more gradual and less expensive progression to better-quality gear.

I'm interested in buying a pair of Alesis Monitor 1 MkIIs. Should I buy the passive versions and a good amp or just go for the active versions, which cost £100 more? I've always thought that active monitors are a bit of a gimmick and don't give a good sound, but I have now been told that they will give the best sound, as there is no crossover. Can you help me?

SOS Forum Post

Technical Editor Hugh Robjohns replies: In the middle and upper parts of the monitor market there is no doubt that active models offer significant advantages over passive designs, such as optimised power amps for each driver, optimised driver-protection circuitry, short and direct connections between amps and drivers, more complex and precise line-level crossovers, and so on.

However, at the budget end of the market these advantages are somewhat clouded by the inherent problems of achieving a low sale price. Most notably, many models are saddled with poor-quality power amps and power supplies that have been built down to a price rather than built up to a standard. Obviously, I'm painting pictures with a very broad brush here — there are some good and some less good designs out there — but the generalisations are true.

Active speakers come in two forms: true 'active' monitors, which have a separate amplifier for each driver, and 'powered' monitors, which have a single amplifier built into the cabinet, feeding both drivers via a normal passive crossover. In examples of the latter, you often get a better amplifier because you are only paying for one amp and not two (or three, in the case of a true active three-way monitor), while retaining the advantages of having an integrated package with very short internal speaker cables and so on. In the case of a well designed two-way speaker, a passive crossover can deliver superb results, and there is often little, if any, quality advantage from employing a complex line-level active crossover instead.

However, one facility that's easy to implement in active designs with line-level crossovers is user-adjustable EQ tweaks. These can be helpful sometimes in matching the speaker to the room, but in inexperienced hands such facilities can often be more trouble than they are worth because they can be mis-set... and usually are!
Perhaps a more relevant argument against budget active speakers — for me, at least — is the difficulty of upgrading. When the time comes to move up to a higher standard of monitoring, you will have to change both the speaker and its integrated amps. This inherently means that upgrading has to jump in large financial steps. On the other hand, if you go down the passive route you can upgrade the speaker separately from the amp, and vice versa. That approach allows you to improve the quality of the complete system in several easier and more cost-effective stages.

For example, you could start off with the best passive monitors you can afford and a reasonable amp (possibly second-hand — there are plenty on the markets as people switch to the more 'fashionable' active monitors), then maybe upgrade the amp to something that will warrant a better speaker after a year or two, then upgrade the speaker, and so on.

For what it's worth, all my 'little speakers' are passive designs coupled to good quality amps, in some cases with the amps fixed to the back of the speaker to make a 'powered' unit. I have found this approach to provide the best-quality result whilst still being very cost-effective and flexible.


 
Published January 2006

Thursday, June 21, 2018

Q. Why is the signal louder when it is panned to the centre?

By Hugh Robjohns
Different mixers employ different panning laws.Different mixers employ different panning laws.

When I plug my guitar into my 16-track and send the same signal to two channels, if I pan both channels to the middle it sounds louder than if I pan one all the way left and one all the way right. Surely it should sound the same — if they are both in the middle, the signal is coming through both speakers, and if one is panned left and one right, it's still coming through both speakers. Can you explain what's going on?

SOS Forum Post

Technical Editor Hugh Robjohns replies: Panning laws vary between products, depending on whether they are designed to maintain constant voltage, constant power, or a compromise between the two. The compromise version is probably the most common these days, with pan pots designed to provide something like a 4.5dB attenuation when at the centre. Constant power gives 3dB of centre attenuation, while constant voltage gives 6dB.

If you pan identical signals fully left and right, you have full-level signals in each output channel. However, if you pan the signal to the centre, the left and right outputs will be attenuated by (in the case of the common 'compromise' panning law) 4.5dB. But because you have panned both input channels to the centre, each output channel is receiving two lots of signal, each 4.5dB lower than the level of a single channel panned fully left or right. Since your two signals are identical, they will sum together and the level will rise by 6dB. So we go up 6dB from -4.5dB and find that each output channel is now carrying a summed mix of +1.5dB. Hence, each output channel is now carrying a signal that is 1.5dB higher than it was when you panned the channels individually left and right, so it will sound slightly louder.

For the record, if the mixing desk employed the constant power law, with 3dB central attenuation, the two channels panned centrally would produce an output of +3dB in each channel, while a desk with the constant voltage law would produce an output that was exactly the same level as the fully panned channels (in terms of signal voltage, at least).

The constant power panning law is used where you want a panned signal to remain at more or less the same perceived volume regardless of where you pan it. However, this panning law looks wrong on the desk meters, which only show a constant level if you use the constant voltage law! Hence the halfway-house compromise law, which tries to satisfy the demands of both situations reasonably well.




Published November 2005

Tuesday, June 19, 2018

Q. How do I hook up my reel-to-reel tape machine?

By Hugh Robjohns

I recently purchased a second-hand Tandberg reel-to-reel tape machine and I'm having difficulties connecting it to my external hi-fi. I was provided with a lead that has a five-pin socket at one end and phono leads at the other, which I plug into the 'analogue in' socket on my hi-fi. However, when I'm playing tapes the music only comes out of one channel. The back of the Tandberg has two of these five-pin sockets and also three other holes, marked 'p up', 'amp' and 'radio'. Can you tell me how I can get the sound coming from both speakers and not just one? Any help would be most appreciated by this novice reel-to-reel owner!

SOS Forum Post

Technical Editor Hugh Robjohns replies: There are several possibilities here. The most obvious one is that the DIN-phono lead you have is broken. DIN is the Deutsches Insitut für Normung, a German standards-setting organisation, and it specified a range of connectors using a similar body with between three and 14 pins. The three- and five-pin versions were used a lot on hi-fi equipment in the '60s and '70s, before the RCA 'phono' socket became the standard interface, and now the five-pin DIN is most commonly found on MIDI leads. If you have a test meter, check the connections between the phono plugs and DIN pins to see if the cable is faulty.
The 'standard' numbering scheme for DIN plugs. 
The 'standard' numbering scheme for DIN plugs.

For some bizarre reason, some manufacturers' implementation of the DIN wiring is exactly the opposite of others, so although I am giving the most common way of wiring them up, bear in mind that this is not always the case. The 5-pin DIN sockets were used to convey stereo unbalanced signals. The DIN pins on a male jack are numbered in the order 1, 4, 2, 5, 3, clockwise from right to left (see diagram). Normally, pins 1 and 4 were used for the left and right inputs, respectively, and 3 and 5 for left and right outputs, with the middle pin of the five (pin 2) serving as the common screen or earth connection for all four signals. If your DIN-phono lead only has two phono connectors on it, the centre pins of the two phonos will either go to 1 and 4, or 3 and 5 — a test meter will help you find out which.

The other possible explanations for why you're only getting output on one channel are broken electronics within the machine itself, or that you are trying to play a quarter-track tape on a half-track machine (or vice versa)...

You can check the latter by looking at the heads or making a test recording to a blank tape. A half-track head uses almost half the tape width for each channel, so you'll see the two head gaps occupying just under half the tape width, with only a small gap (guard band) between them. A quarter-track head uses slightly less than a quarter of the tape width for each track, and the two channels are separated by a quarter-track width, so the two head gaps are separated by the width of another head gap.

As for the 'p up', 'amp' and 'radio' sockets, this suggests that the machine has a built-in record selector and preamp. 'P Up' will be an RIAA phono pickup input, for example. 'Radio' is pretty self-explanatory, and 'Amp' is probably another line-level input — but it could possibly be an output intended to go to a preamp. It would be worth checking anyway!



Published September 2005

Saturday, June 16, 2018

Q. How can I permanently stop mains noise in my studio?

By Martin Walker
Systematically tracking down the source of mains hum may be tedious but necessary, and you'll only have to do it once.Systematically tracking down the source of mains hum may be tedious but necessary, and you'll only have to do it once.

Can you recommend products suitable for the European power grid that can be used to clean up the power signal and ground loops? I am experiencing both ground loops and a generally dodgy power signal. A lot of people recommend that I use some sort of UPS (Uninterruptible Power Supply), but I don't need the functionality they provide, and I would rather spend money on better power conditioning and filtering equipment. Your advice will be greatly appreciated!

Alexander van Rijn

PC music specialist Martin Walker replies: In my opinion it's only worth 'cleaning up the power signal' if it's dirty, and a huge number of background noise problems are caused not by mucky mains, but by audio wiring that results in ground loops. This is the source of lots of unwanted nasties that sneak into your audio signals, and removing them often requires no dedicated products at all. Problems range from straightforward 'hums' (which normally include various levels of the mains harmonics, such as 50Hz, 100Hz, 150Hz, and so on in the UK, or 60Hz and higher multiples in the US), to a wide range of scratches, ticking, buzzing and other digital gremlins that are often associated with computer activities such as graphic redraws, mouse movements, and hard-drive activity.

If you're experiencing any of these ground-loop problems, you won't solve them by installing a power conditioner or an Uninterruptible Power Supply, so before you even think of spending money on either of these options you should examine your basic wiring. Temporarily unplug all the audio cables from your setup, and if you've got gear bolted into a rack, it may also be worth disconnecting the mains cables of this other gear to rule out problems with several metal cases touching each other and causing yet more ground loops.
As tempting as it might seem, short cuts such as leaving the cables plugged in and just switching off the connected gear at the mains won't work, since the mains cables and any resulting ground loops will still be in place. Unplugging one cable can therefore make the background noises better or worse, depending on how this affects the remaining ground loops. Only by removing every audio cable and working through your studio item by item can you totally eradicate ground-loop problems.

You should now hopefully hear silence from your loudspeakers or headphones, apart from a little hiss and possibly a tiny amount of hum or buzz if you turn the amplifier right up and place your ears nearby (be very careful when doing this, since an unexpected signal at this point could damage your ears or blow up your speakers). If there's still more hum than you expect, it might be due to a nearby 'line-lump' power supply, in which case, you should move this as far as possible from audio cables, and at the very least try rotating it to find the 'quietest' position. If you're still unhappy with the levels of hum and noise from your amp/speakers you may need to get them checked out by a technician — remember that hum levels of both solid-state and valve amps can increase over time, due to deteriorating capacitors or valves.

Assuming all is well at this stage, turn down the speaker levels, connect your mixer to the amp, turn up and listen again (if you route all your gear directly to a multi-channel audio interface, this is your 'mixer'). You'll probably hear greater hiss levels from the combined contribution of all the input channels until you pull the master fader right down, but there still shouldn't be any obvious hum or other interference. If there is, it's generally because you've just created an earth loop — the amp/speakers are already earthed via their mains cable, and the mixer is earthed in exactly the same way, so when you connect the two with an audio cable its screen connection completes the loop, causing unwanted earth currents to flow.

If your amp has balanced inputs and your mixer/interface has balanced outputs, the cure is to connect the two via balanced audio cables (twin core plus screen). If not, you may be able to achieve the same results by disconnecting the screen of an unbalanced cable at one end (in the case of soldered cables you can do this inside the plug, normally at the destination end). Similarly, if the amp has a balanced input, but your mixer/interface only provides an unbalanced output, you can make up a pseudo-balanced cable, as I described in 'Computer Audio Problems' in SOS November 2004. Here, one end of the balanced cable is wired to a balanced jack or XLR as normal, while the other end is wired to an unbalanced jack with the screen disconnected or, preferably, connected via a resistor. These cost only a few pence more to make than unbalanced cables, yet provide an ideal solution for connecting any unbalanced source to a balanced destination. I've got such cables wired between all my hardware synths and mixer, and background noise levels are considerably reduced as a result.

By disconnecting the earth wire inside a mains plug, you are removing an essential electrical safety measure — never do it!By disconnecting the earth wire inside a mains plug, you are removing an essential electrical safety measure — never do it!

Occasionally the only way to cure a ground-loop problem is to install a line-level DI (Direct Injection) box between the mixer and amp, to 'galvanically separate' the two circuits, commonly by using a transformer to transfer the signal — the audio gets through perfectly, but there's no direct connection at all between the input and output cables inside the DI box. This is sometimes the only way to cure some laptop-related ground-loop problems, but in my experience, most others can be dealt with by cable modifications.

Once your mixer, amp, and speaker chain have an acceptably low level of background noise, plug each remaining item of gear into your mixer in turn and power it up, listening at each stage for unwanted noises. As soon as you hear any, you know you've either got a faulty piece of gear or a ground-loop problem, and can sort it out in exactly the same way as before. If it's rack gear, you may need to temporarily unbolt it from the rack to check that the problem isn't due to its case touching other earthed metalwork and creating a further ground loop (if it is, use nylon rack bolts or 'Humfrees' to isolate it). Alternatively, low-level circuitry such as mic preamps can pick up mains interference from the mains transformer inside a nearby rack unit. This systematic approach is the only way to deal with ground-loop problems. It may be tedious, but you only have to do it once, and the benefits can be enormous!

When you've got all your gear connected, and still have no hums or other nasties, then and only then is the time to consider adding a 'power conditioner' or UPS. A power conditioner will filter the mains signal to remove any radio-frequency interference plus any incoming spikes and other intermittent noises riding piggyback on the mains signal from the outside world. However, most modern electronic gear, including computers, already includes such filtering in its own power supplies, and in general, it's far better to suppress switch-related mains transients from distant devices such as refrigerators and central heating systems at source, as this will be far more effective.

If, after solving your ground-loop problems, you don't hear any other nasties then you probably don't need a power conditioner at all, but they can be very useful bolted into a rack for live use, to cope with unexpected 'incoming' problems due to stage lighting or grotty wiring in unfamiliar venues. However, if your mains power is 'generally dodgy' it may pay you to have an electrician check your house wiring, and contact the local electricity board to have your incoming mains checked for quality. If, for instance, you live in a remote rural location or close to an industrial estate, you may suffer from occasional but unavoidable interference problems that will benefit from a studio-based power conditioner, although I've never personally found the need for one (perhaps I've been lucky).

A UPS will, in addition, cope with 'brownouts' (occasional severe drop in mains voltage, generally for a few seconds only), plus the more severe 'blackouts' (complete loss of mains power), in exactly the same way as a laptop computer carries on running on battery power if you pull its mains plug. Even if you only use the UPS to power your desktop computer rather than the whole studio (generally a far cheaper approach), it can prove invaluable if you have paying clients in your studio, to avoid your computer rebooting in the middle of a session, and can give you a vital few extra minutes to save the current project before the UPS backup power runs out.



Published July 2005