What's the logic behind having minimal distance between mic and preamp?

Tubthumper · 19th October 2006

I’ve noticed recently that some electronics wizards recommend having mics as close as possible to preamps. Other peeps claim that they run mic cables of 100’ or more to OB vans with no noticeable loss of signal quality. Just wondering if anyone can shed any light on this?

As a practical example, I’ve just had some 40’ mic cables made up. After doing some reading here and elsewhere I decided to go with Gotham GAC3 cable + Neutrik connectors. Would I have been better off physically moving the mic preamps into the tracking room and running short mic cables then 40’ interconnects from the mic pre outs into the DAW interface?

paully · 19th October 2006

If everthing is running balanced, you should be fine with what you have. 400-500' runs are not uncommon. I'd be more concerned with connections between rooms. Make sure connectors are tight and clean. Never heard of the 'short mic to pre' syndrome.

Paul

tINY · 19th October 2006

The idea is that mics - especially ribbons and some high performance moving coil dymanics (SM7 and RE20) have low output levels. And so any noise they pick up before the pre-amp is higher relative to the signal than a line level connection.

The mics also have a relatively high (100-300 Ω ) output impedances and are more suseptable to HF loss due to cable capacitance. Some transformer-coupled mics like the SM57 have a peaking response when capbles get long.

That said, 100 feet or less won't be an issue unless you are in a hostile environment (like lots of stage lights with cheap dimmers or maybe an industrial plant with welders and large stepper motors).

-tINY

19th October 2006	#1
Tubthumper Lives for gear Joined: Jan 2005 Location: Beardsville Posts: 815 Thread Starter	What's the logic behind having minimal distance between mic and preamp? I’ve noticed recently that some electronics wizards recommend having mics as close as possible to preamps. Other peeps claim that they run mic cables of 100’ or more to OB vans with no noticeable loss of signal quality. Just wondering if anyone can shed any light on this? As a practical example, I’ve just had some 40’ mic cables made up. After doing some reading here and elsewhere I decided to go with Gotham GAC3 cable + Neutrik connectors. Would I have been better off physically moving the mic preamps into the tracking room and running short mic cables then 40’ interconnects from the mic pre outs into the DAW interface? __________________ Viral marketeers: reveal yourselves.

19th October 2006	#2
paully Lives for gear Joined: Dec 2004 Location: Northern New Jersey Posts: 562	If everthing is running balanced, you should be fine with what you have. 400-500' runs are not uncommon. I'd be more concerned with connections between rooms. Make sure connectors are tight and clean. Never heard of the 'short mic to pre' syndrome. Paul __________________ WADAYAKNOW.. For the first time in my life, I'm wrong again!

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19th October 2006	#3
tINY Gear Guru Joined: Jul 2004 Location: Orygun Posts: 10,230	The idea is that mics - especially ribbons and some high performance moving coil dymanics (SM7 and RE20) have low output levels. And so any noise they pick up before the pre-amp is higher relative to the signal than a line level connection. The mics also have a relatively high (100-300 Ω ) output impedances and are more suseptable to HF loss due to cable capacitance. Some transformer-coupled mics like the SM57 have a peaking response when capbles get long. That said, 100 feet or less won't be an issue unless you are in a hostile environment (like lots of stage lights with cheap dimmers or maybe an industrial plant with welders and large stepper motors). -tINY