We humans may not have superpowers, but the sensor suite we have is still pretty impressive. We have binocular vision that autofocuses and can detect a single photon, skin studded with sensors for touch, heat, and pain, and a sense of smell that can detect chemicals down to the parts per trillion range. Our sense of hearing is pretty powerful, too, allowing us to not only hear sounds over a 140 dB range, but also to locate its source with a fair degree of precision, thanks to the pair of ears on our heads.
Recreating that binaural audio capture ability is the idea behind this homebrew 3D microphone. Commercially available dummy head microphones are firmly out of the price range of [LeoMakes] and most mortals, so his was built on a budget from a foam mannequin head and precast silicone rubber ears, which you can buy off the shelf, because of course you can.
Attached to the sides of the foam head once it got the [Van Gogh] treatment, the ears funnel sound to tiny electret cartridge microphones. [Leo] learned the hard way that these little capsule mics can’t use the 48-volt phantom power that’s traditionally pumped up the cable to studio microphones; he fixed that problem with a resistor in parallel with the mic leads. A filtering capacitor, an RC network between the cold line and ground on the balanced audio line, and a shield cleverly fashioned from desoldering braid took care of the RF noise problem.
The video after the break shows the build and test results, which are pretty convincing with headphones on. If you want to build your own but need to learn more about balanced audio and phantom power, we’ve got a short primer on the topic that might help.
Continue reading “Homebrew Binaural Microphone Lets You Listen Like A Human”
A few summers of my misspent youth found me working at an outdoor concert venue on the local crew. The local crew helps the show’s technicians — don’t call them roadies; they hate that — put up the show. You unpack the trucks, put up the lights, fly the sound system, help run the show, and put it all back in the trucks at the end. It was grueling work, but a lot of fun, and I got to meet people with names like “Mister Dog Vomit.”
One of the things I most remember about the load-in process was running the snakes. The snakes are fat bundles of cables, one for audio and one for lighting, that run from the stage to the consoles out in the house. The bigger the snakes, the bigger the show. It always impressed me that the audio snake, something like 50 yards long, was able to carry all those low-level signals without picking up interference from the AC thrumming through the lighting snake running right alongside it, while my stereo at home would pick up hum from the three-foot long RCA cable between the turntable and the preamp.
I asked one of the audio techs about that during one show, and he held up the end of the snake where all the cables break out into separate connectors. The chunky silver plugs clinked together as he gave his two-word answer before going back to patching in the console: “Balanced audio.”
Continue reading “The Hot And Cold Of Balanced Audio”
It’s a dilemma many hams face: it’s easy to find yourself with a big spool of RG-11 coax cable, usually after a big cable TV wiring project. It can be tempting to use it in antenna projects, but the characteristic impedance of RG-11 is 75 Ω, whereas the ham world is geared to 50 Ω. Not willing to waste a bounty of free coax, one ham built a custom 1:1 current balun for a 75 Ω dipole.
Converting between balanced and unbalanced signals is the job of a balun, and it’s where the device derives its name. For hams, baluns are particularly useful to connect a dipole antenna, which is naturally balanced, to an unbalanced coax feedline. The balun [NV2K] built is a bifilar 1:1 design, with two parallel wires wound onto a ferrite core. To tweak the characteristic impedance to the 75 Ω needed for his antenna and feedline, [NV2K] added short lengths of Teflon insulation to one of the conductors, which is as fussy a bit of work as we’ve seen in a while. We appreciate the careful winding of the choke and the care taken to make this both mechanically and electrically sound, and not letting that RG-11 go to waste is a plus.
With as much effort as hams put into antenna design, there’s a surprising dearth of Hackaday articles on the subject. We’ve talked a bit about the Yagi-Uda antenna, and we’ve showcased a cool magnetic loop antenna, but there’s precious little about the humble dipole.