Two mini pre-amps that could be used for portable recording:

http://www.soundprofessionals.com/c.../item/SP-PREAMP

and

http://www.reactivesounds.com/spa2.php


About the same price. Some feature comparisons:

The SP pre-amp has the size advantage, important for portable, stealth
recording. Both small and pocketable, but the Reactive PA is more than an
inch longer than the SP. (Other dimensions similar, Reactive even slightly
thinner. But significantly longer!)

But the Reactive PA ("Boost Box") looks like it has some other advantages.
Most notably, the clipping light. Since the H120 (mp3 player that records)
has no level meters, setting the gain and level on a pre-amp is normally
just guesswork, which I assume would occur with the SP PA. With the Reactive
unit, though, the directions say that you set it to lowest gain, then slowly
turn up the gain until the clipping light starts to light, then back off a
little. Also--simpler controls on the Reactive PA. Besides on/off, just one
continuous rotary dial to control gain.

The SP PA, on the other hand, has a three position switch for gain (0db,
29db, and 50 db), and a rotary dial for "level". (Could someone please
explain the difference between "gain" and "level"? Sorry for the newbie
question.) (The 0 db setting gives no pre-amp function at all, I guess then
functioning like a battery box, the 50 db setting is probably too high for
most uses, so I would guess most users leave the gain setting to 29db, and
do fine setting with the rotary level dial.

The Reactive web site states that it is much better for the rotary
(continuous) dial to control "gain", as theirs does, rather than "level", as
the SP does. What do those reading who understand "gain" and "level" think
of that statement? True? In any case, it certainly looks simpler to
set--just one rotary dial to set, using the clipping light for guidance.
With the SP PA you have to set the three way gain switch, and the rotary
level dial, and if you have no level meter, those two settings have to be
guessed.

I guess I'm leaning towards the Reactive Sounds "Boost Box", although I like
the smaller size of the SP PA. However, I am not too knowledgeable about
this stuff, and perhaps one of you could understand more of the specs of
these two units than I can. If someone has actually tried both and could
compare them, that would be great!

Any comments on comparing those two mini battery pre-amps--Sound
Professionals and Reactive Sounds, would be well-appreciated.

"MS" writes:

Any comments on comparing those two mini battery pre-amps--Sound
Professionals and Reactive Sounds, would be well-appreciated.

The only problem I have with your analysis is the usefulness of the
REactive's clipping light. It MIGHT be useful, but there's a big
"if" in there. If the clipping level that indicates is anywhere near
the clipping level of your particular unit, then it might add value.
Without level meters on the recorder, it's all about experimenting and
knowing the settings still, clip light or no. At least you'll know
when you're clipping your preamp itself though, which I guess is
pretty good.

At any rate, I say some words in detail about the SP preamp and
preamped mic as I use them in my open air recording setup for live
music. Some links to stuff recorded with it are included (look for
the ones that say they were recorded with the NJB):

http://toddh.net/music/njb/

Best Regards,
--
/"\ ASCII Ribbon Campaign | Todd H
\ / | http://www.toddh.net/
X Promoting good netiquette | http://triplethreatband.com/
/ \ http://www.toddh.net/netiquette/ | "4 lines suffice."

Is there any way to test how the clipping level of the Reactive PA compares
with that of the recorder?

In any case having some indication of level, if one has a recorder that has
no level meters at all, might be better than having none at all. (I guess if
the R-PA shows clipping earlier then the recorder would, for example, one
could set it so that it indicates just a little clipping, etc. It would be
good if there were a way to determine how close the clipping light on the PA
compared to what would actually clip on the recorder.

"Todd H." wrote in message
...
"MS" writes:

Any comments on comparing those two mini battery pre-amps--Sound
Professionals and Reactive Sounds, would be well-appreciated.

The only problem I have with your analysis is the usefulness of the
REactive's clipping light. It MIGHT be useful, but there's a big
"if" in there. If the clipping level that indicates is anywhere near
the clipping level of your particular unit, then it might add value.
Without level meters on the recorder, it's all about experimenting and
knowing the settings still, clip light or no. At least you'll know
when you're clipping your preamp itself though, which I guess is
pretty good.

At any rate, I say some words in detail about the SP preamp and
preamped mic as I use them in my open air recording setup for live
music. Some links to stuff recorded with it are included (look for
the ones that say they were recorded with the NJB):

http://toddh.net/music/njb/

Best Regards,
--
/"\ ASCII Ribbon Campaign | Todd H
\ / | http://www.toddh.net/
X Promoting good netiquette | http://triplethreatband.com/
/ \ http://www.toddh.net/netiquette/ | "4 lines suffice."

I have the SP-PASM-2 which is a pre-amp with built-in stereo mic
(that you can disable by plugging in your own), that works okay,
if you want portability for $199. I can't follow why there's
such a price range for the various SP pre-amps, by the way, but
my standards are not high so I'm uncurious.

The dynamic range is typically so large that you can be pretty
confident if you just record at a low level.

I'm recording into a Creative N200 mp3 player, and just set the level
so that I can barely hear it on the headphones at a volume level of
``20,'' leaving lots of headroom.

The SP-PASM-2 could use a bass rolloff, by the way, as it seems to
bring up almost sub-sonic bass that you normally don't hear, but I
can take it out on playback with the equalizer on the N200.

I have the ``sensitive'' version, and use it for recording bird songs
and night-time distant train whistles. At the highest sensitivity,
switched to 50dB gain, the pre-amp overloads on normal-loud traffic
sounds, but that situation is rather easy to anticipate and avoid.
It's meant to be sensitive, after all.


--
Ron Hardin


On the internet, nobody knows you're a jerk.

"Todd H." wrote in message
...

At any rate, I say some words in detail about the SP preamp and
preamped mic as I use them in my open air recording setup for live
music. Some links to stuff recorded with it are included (look for
the ones that say they were recorded with the NJB):

http://toddh.net/music/njb/

Todd,

I looked at your site. Much interesting info. Thank you.

One question, however. I notice that all the products you mention (other
than the NJB itself) are from Sound Professionals. I also notice that the
links to those products from your web page have your name (toddh) in the
URL. Do you work for SP? Do you get some kind of commission or credits
toward product purchase when someone makes a purchase from SP, getting to
their site through the referral from yours?

I'm not criticizing, just asking for disclosure.

"MS" writes:

"Todd H." wrote in message
...

At any rate, I say some words in detail about the SP preamp and
preamped mic as I use them in my open air recording setup for live
music. Some links to stuff recorded with it are included (look for
the ones that say they were recorded with the NJB):

http://toddh.net/music/njb/

Todd,

I looked at your site. Much interesting info. Thank you.

One question, however. I notice that all the products you mention (other
than the NJB itself) are from Sound Professionals. I also notice that the
links to those products from your web page have your name (toddh) in the
URL. Do you work for SP? Do you get some kind of commission or credits
toward product purchase when someone makes a purchase from SP, getting to
their site through the referral from yours?

I'm not criticizing, just asking for disclosure.

If you read to the bottom of the page you see the disclosure. 8-)


Best Regards,
--
/"\ ASCII Ribbon Campaign | Todd H
\ / | http://www.toddh.net/
X Promoting good netiquette | http://triplethreatband.com/
/ \ http://www.toddh.net/netiquette/ | "4 lines suffice."

"Todd H." wrote in message
...

If you read to the bottom of the page you see the disclosure. 8-)

Just found it. Thank you.

As part of the "affiliate" program are you not allowed to mention products
by competing companies on your site, or do you just happen to have only used
SP mics and accessories?

"MS" writes:

"Todd H." wrote in message
...

If you read to the bottom of the page you see the disclosure. 8-)

Just found it. Thank you.

As part of the "affiliate" program are you not allowed to mention products
by competing companies on your site,

Nah, they have no such restrictions.

or do you just happen to have only used SP mics and accessories?

Ding! This is the first I've heard of the Reactive Sounds pre. And
I won't try to talk you out of it. :-) Sounds like it might be
nice. If the clip light there does happen to give you some help in
maximizing your dynamic range with field adjustments, go for it!
Just be aware that you'll still have to do some home experimenting to
find out where the pre's clip level is with respect to the recorder's
clip level.

Best Regards,
--
/"\ ASCII Ribbon Campaign | Todd H
\ / | http://www.toddh.net/
X Promoting good netiquette | http://triplethreatband.com/
/ \ http://www.toddh.net/netiquette/ | "4 lines suffice."

One thing I notice now, in looking at specs. The gain on the Reactive PA is
adjustable (via the rotary dial) from 0 to 36.5 db. Therefore, it does not
go as high as the 50 db setting on the SP PA. I greatly doubt I would ever
need more than 36.5 db gain though. (For someone who would though, the SP
would be a better choice.)

The SP lists a higher signal to noise ratio than the Reactive. I'm not sure
how accurate those specs are though, whether one manufacturer might measure
it different than another, and whether that might make a difference that one
could actually hear. If anyone knows more about this and other specs, please
share your knowledge about it.

MS wrote:
One thing I notice now, in looking at specs. The gain on the Reactive PA is
adjustable (via the rotary dial) from 0 to 36.5 db. Therefore, it does not
go as high as the 50 db setting on the SP PA. I greatly doubt I would ever
need more than 36.5 db gain though. (For someone who would though, the SP
would be a better choice.)

Dynamic mics or ribbons typically require more than 36.5 dB
and some condenser mics have similarly low sensitivities
(Sony ECM-MS907 comes to mind.)

The SP lists a higher signal to noise ratio than the Reactive. I'm not sure
how accurate those specs are though, whether one manufacturer might measure
it different than another, and whether that might make a difference that one
could actually hear. If anyone knows more about this and other specs, please
share your knowledge about it.

You assume they actually measure these things. :-)


Bob
--

"Things should be described as simply as possible, but no
simpler."

A. Einstein

Bob Cain wrote:


You assume they actually measure these things. :-)

(Signal to noise ratios)

I don't know for sure but suspect Chris does indeed do those measurements

In the field of Radio gear.... I know the factory specs for signal to
noise are generally what one would call conservative, I belong to an
origination that does it's own "Field testing" of the radios, including
signal to noise, and usually the test unit (which is purchased at random
off a dealer's shelf, similar to what Consumer Reports claims it does)
usually outperforms the specs (Very slightly)

Though this origination does not do audio gear (other than
communications mics and processors) I'm sure that such a independent
test lab does exist for audio gear so if a company were to make WAC's
(You know what the W(ild) is, and I'm sure you can guess the "A", the C
is "Claim") for their performance specs it would be common knowledge all
over the net 10 minutes later.

I have only heard one dissatisfied costumer report with
SoundProfessinals and have heard many, many happy customer reports, my
own included, (And I won't name the companies who got bad reviews)


That said... Every company from time to time makes a blunder. Can't be
helped. Chris has shown a willingness to make it right however that is
unmatched far as I can tell

My original battery box (Which got lost was cross wired, right became
left passing through the box. not really a problem as I just wore the
mics backwards when using it. But Chris actually CALLED to offer a
replacement when I asked (here) for his phone number back before web
sites were as good as they are today.



--
John F Davis, in Delightful Detroit. WA8YXM(at)arrl(dot)net
"Nothing adds excitement like something that is none of your business"
Diabetic? http://community.compuserve.com/diabetes

John in Detroit writes:

That said... Every company from time to time makes a blunder. Can't
be helped. Chris has shown a willingness to make it right however
that is unmatched far as I can tell.


I can vouch for this. My criticism of the design of the original
preamplified mic iteration was taken to heart, and the design improved
and fixed. Now I recommend it without reservation.

Best Regards,

--
/"\ ASCII Ribbon Campaign | Todd H
\ / | http://www.toddh.net/
X Promoting good netiquette | http://triplethreatband.com/
/ \ http://www.toddh.net/netiquette/ | "4 lines suffice."

I should tell you that I'm one of the folks who asked Chris to come out
with a b-box/pre-amp combo... Don't know if I was first, but clearly he
came out with one... I do like the way that man runs stuff

Todd H. wrote:
John in Detroit writes:


That said... Every company from time to time makes a blunder. Can't
be helped. Chris has shown a willingness to make it right however
that is unmatched far as I can tell.



I can vouch for this. My criticism of the design of the original
preamplified mic iteration was taken to heart, and the design improved
and fixed. Now I recommend it without reservation.

Best Regards,


--
John F Davis, in Delightful Detroit. WA8YXM(at)arrl(dot)net
"Nothing adds excitement like something that is none of your business"
Diabetic? http://community.compuserve.com/diabetes