Discussion in 'Monitoring / Headphones' started by rubberlugs, May 26, 2005.
Can anyone tell me how to wire up my spare NS10 to act as a mic?
this is used more for that bass drum then the snare.
yeah, no secret really, just stick a jack on the other end and plug it in... you'll have to crank the gain up a whole heap though, so you might need a pre-amp as well as the channel gain.
More here too:
What the.... ? Is this something everybody does? I never heard of this one. :?
I like to use speakers when they are removed from their cabinets, as in the Ns-10. Just take an XLR cable and solder the wire from pin 2 to the speaker's (+) terminal, and the wire from pin 3 to the (-) terminal. I think that I soldered the wire from pin 1 to the (-) terminal as well, however others say just to leave it unconnected on the woofers end.
You can also use headphones as microphones.
I dug out my old post that "had" a link to the idea
(Dead Link Removed)
unfortunately , the link doesn't point to the artical, trying to find it ...
I'm sure I saw that one on here not so long ago, maybe it was before the forum got all changed though.
Someone was talking about making a clamp for the cone...
i know we had an extencive discution about this on the old "tech talk" forum but all you need to know is right here.
This is my favorite way to get a good kick sound. I read about it in an interview with the guy who did the Evanescence album. Put one mic in the hole to get the beater hit, then have the ns10 out in front to get the low end. The inefficiency of the driver makes a nice LPF. Yamaha now has the Subkick out which is basically a prewired setup for this.
The NS-10 trick is cool. Yamaha makes their own version called the "sub-kick" which is basically an NS-10 mounted inside a drum shell. We have one in our mic-locker at the studio I work at and it gets used quite a bit, typically in combination with another mic such as a 421. The low end from the sub-kick added with the other mic really fills in the low end that the other mic doesn't quite pick up as well.
Personally, a/b-ed with the real ns-10 speaker, the actually speaker sounds better to me. But, that's just my opinion. Try it! If you don't like it, at least you've tried it.
Wow, we must have posted at the exact same time. Weeeirrrd.
That is a far out idea. I like the idea behind it. Now if I only didn't throw away those Yamaha NS 10's :roll:
Didn't the same Evanescence album have the Hughes & Kettner WARP X as the guitar amp? I think that is true.
Off subject: Has anyone heard of a guy by the name of, Paul Crook? He uses the same H&K WARP X amp head.
If I recall the interview correctly, the guitars are all from some Line 6 setup. I may be wrong on that though. Whatever it was, I love the sound, I love everything about that album except that a) gate in, gate out, repeat and b) I've heard it too many times. CURSE YOU RADIO!!!!
I just read that article I posted about the subkick in entirety...it's a damned good thing that that guy thought of it ALL BY HIMSELF!!!! Don't bother mentioning that people had been doing it long before his amazing revelation...marketing...sheesh.
just wire a speaker "backwards" to a mic cable and yer off. I have mixed emotions on it. You really can get "better" kick sounds by nice mic, nice pre, great tuning, good mic positioning BUT it's very easy to get a "good" sound by stuffing the kick d112 inside and sub out side. You DO have to watch for phaze phunk AND it works much better when you use eq's on both mics to create a type of multiband compression/eq thang. IE roll lows off d112 roll highs/mids off sub and use the two channels to create a nice tone. I do this a lot with bass cabs and a TLM 103/sub mic combo. 103 gets the nice pretty mids/highs the sub picks up the very lows sounds pretty meaty.........................
Thanks, I thought it would be as simple as pin2 to the + and 3 to the -. But I had my doubts when someone suggested paying £50 to have it configured. Didn't think 2 terminals could be that complicated.
Thanks for the feedback
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