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![]() The other benefit of including the output converters in the mic is the ability to build in zero-latency monitoring by including a small control that lets you balance the computer's audio out with the direct sound from the microphone. ![]() This means fitting a D-A converter and a little more electronics, but the standard USB buss can supply enough current if the job is done carefully. One way around that, which also offers some additional benefits, is to include a headphone output on the mic itself, so that the mic also acts as an audio output device. Depending on your choice of operating system and computer hardware, you may have to jump through a few hoops to be able to record via the mic and play back through some other audio path, such as the computer's built-in sound circuitry or an external audio interface - and in my experience with Apple's Aggregate Device settings, the latency gets much worse when you do this. Although you can normalise the resulting recording, or use a digital gain control to get the level back, the percentage of noise and distortion will still be that of a 10-bit signal.Īnother technical issue is that most DAW software expects to see an audio driver that handles both input and output signals, yet a traditional microphone is only an input device. If such a recording results in a peak recorded level of, say, -36dB, you've effectively lost out on six bits of resolution, leaving you with what is, in fact, equivalent to a 10-bit signal. Not all USB microphones are fitted with gain controls, though, so while they may be optimised for close-up speech or singing, they will produce pitifully low signals if you try to use them to record a conversation between two people with the mic on a table-stand a couple of feet away. However, this is of little practical consequence, providing you send the converters a strong enough signal to make use of their available dynamic range. One limitation of USB microphones seems to be that the only suitable converters currently available for this kind of product are 18-bit, rather than 24-bit. I'll be having a look at a few of the new mics later in this article, but first I should address some of the issues that are generic to this type of mic. It's only when you look more closely at the concept that certain challenges arise, so it is interesting to see how the different manufacturers have met these challenges. The concept itself is simple enough: put the preamp and A-D converter inside the microphone and power the whole thing from the USB buss. This includes a range of USB microphones which can connect to any computer via a USB cable, enabling the user with a laptop to record without the need for mic preamps, regular microphone cables or other hardware. Not surprisingly, manufacturers have been quick to launch products designed for podcasting. It's easy to do: create your own radio-style programme, publish it on the Internet and make it available for anyone who wants to download it to their MP3 player or computer. Podcasting is one of the latest buzzwords for self-promotion on the Internet. We discuss the merits of mics that feature a USB port and compare recent arrivals from Rode, MXL and SE. ![]()
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