Tudio type microphones which do not have a PTT. The PTT connector in the rear has been added because most Hi-Fi stations use s. Asymod 6 internal levels do not need adjustments when switching from Line-In (rear ¼ TS connector) to Mic-In (front 4 pin microphone connector). Mic Gain control is only active when the rear ¼ TS Line-In connector is unplugged and while using a microphone connected to the front panel 4 pin microphone connector. The rear ¼ TS connector accepts line level inputs up to +4 dBu, 1.74 VPK, 1.23 VRMS. The front panel 4 pin Mic-In accepts microphone level inputs and is adjustable via the Mic Gain front panel control. Unbalanced front panel Mic-In and rear panel Line-In inputs. Front panel 4 pin Mic-In connector is interruptible by the rear ¼ TS Line-In connector.
In addition to the stock accesories and functions, this unit includes. There is no need for internal adjustments. Simply connect the output of your audio process gear to the rear panel Line-In connector or the hand microphone to the front panel Mic-In connector and go.
ESSB AUDIO RACK PRO
Simplify your setup and get the pro audio you want with this all in one, neatly designed setup.
ESSB AUDIO RACK FREE
Your SSB station can have that amazing Hi-Fi audio too! ProTools sessions are free and ready for download. (Good quality headphones or external speaker is recommended for best results). Additional models and documents may be found at our Home URL!! The receiver section in this Stryker SR-955HPC has been upgraded to a Hi-Fi receiver. And get answers to the most frequently asked questions and lots of valuable information related to Hi-Fi communications. In this highly requested real-human-voice demo and the Asymod 6 with the Cobra 29 LX BT. Compression Disabled.Be sure to see the Stryker SR-955HPC in Hi-Fi action with the NEW Asymod 6. Maybe I'm missing the whole point - I use a heil-mic and Sony studio-monitor headphones for my audio adventures in this fine hobby - but, eh! each to there own.Īctive Users: 1 ( 1 guest, 0 members, 0 anonymous members )Īll times are GMT -5:00, Time now is 7:05pm In crowded bands or contests, it could always be reduced to 3 or 4KHz for the duration in keeping with good practices. I suppose (I theorize) that an eSSB signal at 4 or 6KHz with proper adjustments can in fact be a much 'cleaner' signal than the aforementioned 2.8KHz, badly adjusted signal. IMHO, given our J3E bandwidth requirements and current RX filter technology I think all the additional effort is probably wasted, as no one will ever hear that additional audio quality?Īfter all, Audio Quality is directly proportional to bandwidth, is it not? - well, I guess thats only partially true, especially as here in N.A., there is no apparent restriction on a ham station's bandwidth (even in USA FCC Part97), so conceivably one can go up to 6KHz and utilize more color (higher frequencies) in the audio spectrum.īTW, I hear many full-legal limit stations on 20 and 40m here in North America, who are operating at (supposedly) 2.8KHz who just haven't a clue on setting up there processors and ALC, they sound terrible and produce many unwanted artifacts to boot! - so imagine all your stuff in their hands! I suspect you were probably not around in the UK in the '60s when AM on 20m was the trend? - signals those days were high-fidelity, wide as a barn-door and the 'MPT interference van' was always on the prowl!) - but I guess up at VHF/UHF, there's lots of space to get into trouble lol I would hate to be a 'local UK ham' to you with all that over-modulation potential and one's natural urge for 'knob-turning' lol. ( BTW, I spent a number of Years as a broadcast Engineer and your existing audio setup would have made many of our small-studio managers really jealous!) Wow! it looks like a 'Hi-Fi Studio wannabe' schematic - I would apply for a 'real' broadcast licence for '88-108 MHz' if I had all that stuff kicking around, why waste it on the ham bands ?
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