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<blockquote data-quote="Steve Kirby" data-source="post: 140337" data-attributes="member: 9411">Re: How to connect Behringer Mixer Zynex QX1204USB to Sonic Exciter SX3040Okay, so what you are doing is basically recording.&nbsp; This being a live sound forum you may get more responses at a recording forum like GearSlutz.&nbsp; There are a fair number of voice over artists on that forum.So, the first stage has to be the preamp.&nbsp; Plug the mic into the preamp.&nbsp; Since you are going to be squashing the dynamic range with the compressor to keep the voice over level even, you probably want the compressor to be next in line.&nbsp; Using the gate to kill noise during pauses.&nbsp; I would seriously consider not using the exciter and just go mic-preamp-compressor-recorder.&nbsp; The exciter basically adds high frequency distortion (depending on how far into Aphex&#039;s patents they&#039;ve gone) or some sort of high frequency expansion.&nbsp; Which is just going to aggravate sibilants and hiss.&nbsp; It&#039;s pretty easy to find a mic that has more high end sparkle.&nbsp; Most of the low cost imported (capsule or entire microphone made in China) large diaphragm condenser mics are trying to emulate a Neuman U87 and have a pretty pronounced high frequency peak.&nbsp; Invest in a pop filter and one of those curved absorber things that goes behind the mic to block out room reflections.&nbsp; You&#039;re going to want this set up to be about the level of your forehead to limit sibilants and so you can read your scripts underneath.&nbsp; Although you don&#039;t want to be tipping your head down and constricting your throat, so mount things up a ways.Taming the hiss is a matter of what is called gain structure.&nbsp; Optimizing the level of each piece so that it is putting out the maximum amount of clean signal that it can and that the next stage can accept cleanly.&nbsp; This raises the desired signal above the level of the background noise.&nbsp; Like several pieces of dirty glass layered together, the final result will never be cleaner than the dirtiest pane, and the more layers you stack up or add together, the harder it will be to keep the final result clear.&nbsp; It&#039;s temping to cobble together gadgets to &quot;improve&quot; sound but in audio, the simplicity of signal path is the clearest.&nbsp; With entry level equipment like this, the less of it the better.</blockquote>

[QUOTE="Steve Kirby, post: 140337, member: 9411"] Re: How to connect Behringer Mixer Zynex QX1204USB to Sonic Exciter SX3040 Okay, so what you are doing is basically recording. This being a live sound forum you may get more responses at a recording forum like GearSlutz. There are a fair number of voice over artists on that forum. So, the first stage has to be the preamp. Plug the mic into the preamp. Since you are going to be squashing the dynamic range with the compressor to keep the voice over level even, you probably want the compressor to be next in line. Using the gate to kill noise during pauses. I would seriously consider not using the exciter and just go mic-preamp-compressor-recorder. The exciter basically adds high frequency distortion (depending on how far into Aphex's patents they've gone) or some sort of high frequency expansion. Which is just going to aggravate sibilants and hiss. It's pretty easy to find a mic that has more high end sparkle. Most of the low cost imported (capsule or entire microphone made in China) large diaphragm condenser mics are trying to emulate a Neuman U87 and have a pretty pronounced high frequency peak. Invest in a pop filter and one of those curved absorber things that goes behind the mic to block out room reflections. You're going to want this set up to be about the level of your forehead to limit sibilants and so you can read your scripts underneath. Although you don't want to be tipping your head down and constricting your throat, so mount things up a ways. Taming the hiss is a matter of what is called gain structure. Optimizing the level of each piece so that it is putting out the maximum amount of clean signal that it can and that the next stage can accept cleanly. This raises the desired signal above the level of the background noise. Like several pieces of dirty glass layered together, the final result will never be cleaner than the dirtiest pane, and the more layers you stack up or add together, the harder it will be to keep the final result clear. It's temping to cobble together gadgets to "improve" sound but in audio, the simplicity of signal path is the clearest. With entry level equipment like this, the less of it the better. [/QUOTE]

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