Yes, I have the same concern. Actually, several concerns. First, being I’d hate to think I’d bought a disposable product for $75. My second concern—and perhaps it should less selfishly be my first—is the prospect of industrial waste, namely that discarded electrical components aren’t the best thing for the environment.

1 Like

I have the ToneBone PZ-Pre from Radial and it works very nicely. Versatile, clean gain, features an FX loop I/O, balanced pre and post EQ output. The EQ is certainly useful!

1 Like

Does it look completely (safely) unopenable? Is it like “not recommended” that you service the battery yourself, or is it like “you’ll fucking break it if you open it up”.

1 Like

has anyone used the marshmallows on a sound system (for processing, more specifically) ? that was kind of my motivation for ordering a red one just now - I’ve been using a homemade contact mic plugged into an interface preamp which has worked successfully, but I’ve still run into feedback issues depending on the venue/speaker/volume situation. I’m kinda hoping that a dedicated pre-amp might reduce feedback issues, though I’m not an expert on these things. sounds like I should at least expect much better sound quality and not have to EQ any hum

This is why I’m looking at the Radial pz deluxe or ac driver since they both have a lot of ways to beat feedback and shape the sound.

oh but I’m sure I can build a digital equivalent !

I think @Rodrigo recommended HISSTools a while back

1 Like

The correct gain staging will most certainly help with feedback issues, as will the mounting position of the microphone itself. Equalization is going to help some as well, depending on the venue.

Reading this comment reminded me about the phase invert function and how helpful that can be for getting rid of feedback with live performances.

i also use a pz-deluxe (for viola.) it’s very nice. fy i, would not expect the ground lift to help eliminate hum unless you are using the balanced (xlr) output.

1 Like

One of the main reasons I would use it would be to get the levels hot enough to use with Norns, so I definitely need some piece of hardware. Currently using my Mackie to boost the signal, eq, and also cut the low end to defeat the little amount of 60 cycle hum I have.

I did some comparing and my homemade piezo, which is hooked up directly to the shielded cable, does much better than the cheap off the shelf ones I’ve tried. I feel pretty good that if I shielded the piezo element itself with copper or aluminum (and grounded that), the hum would be even less or mostly gone.

It doesn’t look as if it’s meant to be opened. Maybe if—when—the battery runs out of juice, I might be willing to perform an autopsy.

2 Likes

I haven’t shared audio recordings online in a long time. What is a nice way to upload some stereo samples I captured with the Marshmallows? I am excited to show what they’re capable of!

you can drag .wav’s or .mp3’s straight into a post if u want

1 Like

Oh, here are some pics of my DIY Barcus Berry preamps (schematics/layout posted earlier in the thread (I think!)).

11 Likes

anyone here have any experience using accelerometers/vibration sensors for contact mics? One particular model I can’t remember that was on the more budget side was recommended to me years ago and I wish I could remember what it was. They apparently work very well since this person was doing acoustics work. The downside to them being that they are quite bulky in general, usually made for permanent mounting to a machine so its not as light/small/discrete/etc as a piezo pick up, but I’m interested in how much more sensitivity they might offer. They are also quite a bit more expensive and often need external power, so its best to find one that uses one of the phantom power settings on your recorder, and you also need to make up some sort of small adapter cable. Looking around a bit not all of them offer a particularly wide pick up range, which makes sense if you are just trying to monitor motor vibrations in large machines. I really wish I could remember the particular make/model since I think it used 24v, was pretty affordable at around $25 per piece and had a good range.

1 Like

do you mean this kind ?


that’s bruel&kjær 2635 charge amplifier + accelerometer sensor & accesories.

the amp is relatively bulky but it does somehow fit the usual(?) “camrade” bag usually used with SoundDevices recorders (anyway once on location i don’t keep the bag on my shoulders…).
it works with three R20 batteries and holds the charge like forever.
quite expensive, however.

6 Likes

yeah things in that vein. although I’d probably see about skipping the giant preamp and finding one on the less expensive side that could operate off the phantom supply on my recorder.

curious how/what you were using it for and if you felt what you capture justifies the increased cost. I’m guessing that the more sophisticated hydrophones like the Sound Fish are more or less waterproof higher end accelerometers, and they sound great.

i fear you can not “skip” that amplifier (not so giant, btw… approx 132mm x 70mm x 200mm, 1.4 kg with batteries) - the sensors are passive and don’t need any power. the amp allows to dial in the exact transducer sensitivity, has built-in integrators + lowpass filter and huge amounts of gain.

i used it to record ice melting (thermal shocks), rattling of various heavy machinery (ventilation systems, wind turbines, etc), collected metallic debris, sand grains and so on.
the transducers are normally attached/mounted with a magnet, threaded studs, glue or beeswax, so they are not really meant to be attached to musical instruments, even if probably the miniature ones (model 4374) could be suited.

3 Likes

As promised, here are samples of my two red shrink-wrapped (normal gain) Marshmallow contact microphones in a stereo configuration. Each sample here is a stereo recording that was captured with the mics plugged directly into norns using its tape function and running off its own battery. Nothing else was plugged into norns at the time, but a pair of headphones.

I have only recently received these contact mics, and feel that I have yet to find the best techniques and applications for them. I have only used Blu Tack to mount them so far, and it seems to be working just fine. Thankfully it’s re-usable and hasn’t damaged any surfaces or become too cumbersome to work with.

The Marshmallow mics are incredibly sensitive. The red shrink-wrapped version’s preamp have a shockingly high level of gain. I found it difficult to capture the toy piano samples without causing them to clip. Given, the source was extremely rich in bass because I mounted both mics directly to the soundboard of the toy piano, and then I proceeded to remove the soundboard from the body of the piano to play the tines directly… with grilling tongs. You may need your bite guard for those particular samples, despite that I’ve removed the parts where it clips for your listening (pleasure?).

The Kalimba is homemade from a piece of wood I found at the beach one day at a friend’s summer home. The rain on glass pane was recorded in my back-yard with a flat 2 1/2’ x 3’ pane of glass horizontally positioned upon a glass jar with a plastic lid as a buffer between them. You can hear the A/C unit running in the first half of that sample, and the sound of traffic passing by.

Feel free to use these samples for whatever experiments you may have in mind. Headphones recommended, or course, and thank you for listening.

Kalimba:

Toy Piano Part 1:

Toy Piano Part 2:

Rain On Glass Pane:

Rain In Gutter:

6 Likes

Awesome recordings. Thanks, too, for the heads up on Blu Tac.

1 Like