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Author Topic: mic cable Bas Haldermans Film Handler Posts: 11 From: GA Echt, The Netherlands Registered: Dec 2002 posted 02-12-2003 04:58 PM                        I have to connect a mic to the cp650 What pins do i have to use of the connector to the cp 650. Thanks bas  |  IP: Logged Michael Schaffer "Where is the Boardwalk Hotel?" Posts: 4143 From: Boston, MA Registered: Apr 2002 posted 02-12-2003 05:24 PM                        The installation manual is available for free download from this very website!  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 02-12-2003 05:27 PM                        The info is on P.24 of the CP-650 installation manual on the Film-Tech site. Looks like standard XLR connector wiring--pin 1 is shield, pin 2 is hot (signal +), and pin 3 is signal -.  |  IP: Logged Jean-Michel Grin Expert Film Handler Posts: 222 From: Geneva & Lausanne, Switzerland Registered: Jul 2002 posted 02-13-2003 04:10 PM                        Don't forget to adjust the mic level on the front side trimpot !  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 02-14-2003 04:47 AM                        Paul, Don't you mean 1 = shield, 2 = - signal and 3 = + signal? That's the way it is done in all of our studios. Isn't that the NAB standard? Frank  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 02-14-2003 05:49 AM                        This is from a Crest Audio CA Series manual I had handy. This is from the Dolby CP-650 installation manual.  |  IP: Logged Ray Derrick Master Film Handler Posts: 310 From: Sydney, Australia Registered: Sep 2001 posted 02-14-2003 08:19 AM                     Frank I think you will find that when Cannon 3 pin connectors (EP, XL etc) were first introduced (late 60's I think), the standard everyone opted for was pin 2 hot and pin 3 cold. Then at some point, some renegade US manufacturers decided to reverse pins 2 and 3 (Why? Just to be different I guess!) To this day, the majority of high end studio equipment manufacturers including top end mixing console manufactuers like Neve, Solid State Logic, Harrison and Soundcraft and ALL professional microphone manufacturers, still use pin 2 as hot. Having two conflicting common standards has been an absolute pain in the butt for every professional audio person around the world. Of course Dolby in their wisdom and to their credit, choose the only correct standard. If your studios use pin 3 as hot AND you use professional microphones like Neumann, AKG, Shure etc, then all your recordings are out of phase! Woops! IMHO those idiots that chose to make pin 3 hot should be nailed up on wooden crosses all the way to Rome.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 02-14-2003 08:28 AM                        Otari tape recorders are wired pin-3 hot. If I recall correctly, Nagras are as well. A phase-flip cable or adapter is the cheap/easy fix (as opposed to rewiring the connectors).  |  IP: Logged Ray Derrick Master Film Handler Posts: 310 From: Sydney, Australia Registered: Sep 2001 posted 02-14-2003 10:25 AM                     Scott it's been many years since I held a Nagra in my hot little hand but I seem to vaguely recall they also had reverse sex for the connectors (inputs male, outputs female). Is that correct or am I thinking of something else?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 02-14-2003 10:40 AM                     Anyone that wires XLRs as anything but pin-2 "hot" should be shot. One nice thing about Neutrik's "combo" jacks is that pin-2 is hot if tip is hot! Then again, QSC went through a period where Tip was "-". JBL for most of it's history has been postive on red mean inward cone movement...the exact opposite of the rest of the world. Why does there always have to be someone that just has to be different! Steve  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 02-14-2003 12:00 PM                        I wondered how long it would take for someone to bring up the "XLR pin 2 hot vs. pin 3 hot" thing! All I know is that all of the theater stages, sound companies, AV companies, and TV production trucks that I work on in 'Vegas and SoCal use the "pin 2 hot" convention. I have heard of "pin 3 hot" but have never had to work with any sound gear actually configured that way. I must've lead a sheltered life.  |  IP: Logged Bas Haldermans Film Handler Posts: 11 From: GA Echt, The Netherlands Registered: Dec 2002 posted 02-14-2003 02:39 PM                        Yes i understand the connection to a xlr connector. But how do i make the connection to the 9 pin connector (a female 'com' connector) to do b-chain. Greetings bas  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 02-14-2003 04:28 PM                     Make yourself a 9-pin D to XLR adapter cable...it isn't that hard. Steve  |  IP: Logged Paul Mayer Oh get out of it Melvin, before it pulls you under! Posts: 3836 From: Albuquerque, NM Registered: Feb 2000 posted 02-14-2003 04:40 PM                        From page B-5 of the CP-650 manual: Front panel DB-9 connector pin assignments: Pin 1 = + mic signal Pin 2 = - mic signal Pin 5 = Mic cable ground NOTES: If using a cable made for use with the CP-500 add a jumper between pins 5 and 6. Pins 1, 2 and 5 are paralleled with the XLR connector on the back panel. Don't have anything plugged into the XLR if you're using the DB-9 for EQing.  |  IP: Logged Ray Derrick Master Film Handler Posts: 310 From: Sydney, Australia Registered: Sep 2001 posted 02-14-2003 06:13 PM                     Then of course, the importance of the absolute phase of a composite audio signal is somewhat academic, provided all channels in a multichannel system agree with each other etc. There are some folk out there who claim to be able to hear the difference between an inverted audio signal and an uninverted one. But they fail to take into consideration the complexities of the audio chain, particularly in relation to the phase altering effects of filters and equalisers. For instance, most two-way speakers have the HF driver deliberately wired in reverse phase in order that the phase of HF and LF speakers agree with each other at the crossover frequency.  |  IP: Logged

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