How Much Gain Should a Professional Microphone Preamplifier Have?

McKinnie D. How Much Gain Should a Professional Microphone Preamplifier Have? In: AES Convention 128. Audio Engineering Society; 2010. Paper 7999. Available from: https://aes.org/publications/elibrary-page/?id=15296

@inproceedings{McKinnie2010_15296,
  author = {McKinnie, Douglas},
  title = {{How Much Gain Should a Professional Microphone Preamplifier Have?}},
  booktitle = {AES Convention 128},
  note = {Paper 7999},
  year = {2010},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=15296}
}

TY  - CPAPER
TI  - How Much Gain Should a Professional Microphone Preamplifier Have?
AU  - McKinnie, Douglas
T2  - AES Convention 128
M1  - Paper 7999
PY  - 2010
DA  - 2010/05/06
UR  - https://aes.org/publications/elibrary-page/?id=15296
PB  - Audio Engineering Society
LA  - en
AB  - Many tradeoffs are required in the design of microphone preamplifier circuits. Characteristics such as noise figure, stability, bandwidth, and complexity may be dependent upon the gain of the design. Three factors determine the gain required from a microphone preamp: Sound-pressure level of the sound source, distance of the microphone from that sound source (within the critical distance), and sensitivity of the microphone. This paper is an effort to find a probability distribution of the gain settings used with professional microphones. This is done by finding the distribution of max SPL in real use, and by finding the sensitivity of the most commonly used current and classic microphones.
ER  -