Microphone Connection Basics

Max low power adjust, sets the maximum low RF power output. High power adjust sets the high power and is set in relation to maximum DC amperage draw. Low power adjust sets the low power and is set in relation to maximum DC amperage draw. You'd need the full service manual as well as the correct tools and test equipment to do this properly.

Kenwood rigs present relatively few problems in interfacing to Heil products. Kenwood HF transceivers have long been designed for dynamic microphone inputs, so the microphone amplifier stages have plenty of gain to accommodate the wide range of Heil dynamic microphones. These are our recommendations. For best results please consult your owners manual.

Pin Connections

8-pin Round (All Models)
Pin 1: Mic
Pin 2: PTT
Pin 7: Microphone Ground
Pin 8: PTT Ground

4-pin Round (TS-120/130/700/520/530/820/830, TR-2200/7200/7400/7500)
Pin 1: Microphone In
Pin 2: PTT
Pin 3: PTT Ground
Pin 4: Ground

8-pin Modular (TS-480, VHF/UHF Mobiles)
Pin 3: Ground
Pin 4: PTT
Pin 5: Microphone Ground
Pin 6: Microphone In

HT 3-pin 3.5 mm Plug (All VHF/UHF HT except TH-F6/7*)
Tip: +4V
Ring: Microphone In
Shaft: PTT
Note: Ground is sourced from the shaft of the 2.5 mm plug.
Heil Sound is investigating interfacing issues on these models at the present time.

DSP and Microphone Settings

Better bots payday 2. Several Kenwood rigs have DSP and other settings that will allow the operator to adjust the response of the radio to your speech input from the microphone. These are easy to adjust in seconds.

It is impossible for us at Heil Sound to know what settings will sound “best” on your voice, in your station environment, with your microphone, for your interest (DX, Contest work, rag-chewing, or maximum fidelity) The recommendations below are just starting points; listen to yourself in a separate receiver (with its antenna disconnected) to determine what sounds best in your unique situation.

TS-950SDX
Menu 20 (DSP 1 HPF): 100
Menu 21 (DSP 1 LPF): 3100

TS-570
Menu 13 (Bandwidth): 2.4 kHz
Menu 14 (TX EQ High Boost): H
Microphone Gain: 50 (Default Level)

TS-870
Menu 29 (Bandwidth): 3000 Hz
Menu 30 (Bandshift): 0 or 100
Menu 31 (TX EQ): H or C
Menu 32 (RCV EQ): C or Off
Microphone Gain: 50 (Default Level)
Menu 22 (Mic AGC): 1 (but try 0 and 2)

TS-2000
Menu 22 (Bandwidth): 3000 Hz
Menu 21 (TX EQ): H or C
Menu 20 (RCV EQ): C or Off
Microphone Gain: 50 (Default Level)

Kenwood TS-590 Setup Recommendations

Kenwood’s exciting new TS-590S transceiver promises to be popular among active operators throughout the world. We are already getting a lot of questions about the best “settings” for the onboard DSP microphone equalizer.

The TS-590S does have a very sophisticated software-programmable equalizer system, but that’s not required in order to get on the air while sounding great.

50+ videos Play all Mix - New Irani Balochi Song YouTube Balochi New film//Mana Lanshoo//film By Rehmat Ghulam.3.2020 - Duration: 1:48:43. Rehmat Ghulam 184,576 views. NEW IRANI BALOCHI SONG BY CHAGHI STUDIO 2017 YouTube - Duration: 5:13. MIR NAJEEB Baloch 47,874 views. New Balochi Wedding Song - Duration: 8:23. Balochi Songs 117,608 views. Irani balochi songs. 50+ videos Play all Mix - New Irani Balochi Song New Balochi Wedding Song YouTube New Irani Balochi Song New Balochi Wedding Song - Duration: 8:41. Balochi Songs 246,359 views. 50+ videos Play all Mix - Irani Balochi Song Ti Chamana Gajir YouTube YouTube; Nigora Kholova - Shahr Khali. New Irani Balochi Song New Balochi Wedding Song - Duration: 5:25.

Menu items 25 and 26 set the transmitter’s bandwidth. Leave them at factory defaults to get started; they’ll set you up for a low-end cutoff of 300 Hz, and a high-end cutoff of 2700Hz.

Now go to Menu #30, and select “C” (“Conventional”), which will give the audio frequencies above 600Hz a slight (3 dB) boost. That will be good for starters. You may also select “HB2” (High Boost 2) if you’re using a wide-range microphone, like the PR 781, on the TS-590. The High Boost 2 selection will suppress the lower frequencies, and give you more “sparkle” on the high side, for good communication-quality audio.

Ultimately, though, much of the fun of acquiring a new radio is the experimentation with its many features. Read the operating manual, especially on page 32, and then try out the many available bandwidths and equalization possibilities. Listen to yourself on a separate receiver, with its antenna disconnected and its noise blanker turned off, to know exactly how you’ll sound to others listening to you on the air.

Kenwood TS-990 Equalization Recommendations

Menu 00 : Adjustment Level -21
Menu .3 : Adjustment Level -16
Menu .6 : Adjustment Level -14
Menu .9 : Adjustment Level -7
Menu 1.2 : Adjustment Level -5
Menu 1.5 : Adjustment Level -1
Menu 1.8 : Adjustment Level +1
Menu 2.1 : Adjustment Level +4
Menu 2.4 : Adjustment Level +6
Menu 2.7 : Adjustment Level +6
Menu 3.0 : Adjustment Level +6
Menu 3.3 : Adjustment Level +6
Menu 3.6 : Adjustment Level +6
Menu 3.9 : Adjustment Level +2
Menu 4.2 : Adjustment Level +2
Menu 4.5 : Adjustment Level 0
Menu 4.8 : Adjustment Level 0
Menu 5.0 : Adjustment Level 0

• Kenwood990SA-big
  

• kenwood990hifi

• kenwood990dx

Originally published: Aug 2, 2010

What if youwent to your favorite local restaurant, ordered a meal and the waiter served you 1/2 the portion but charged youfull price? Would you feel cheated? Believe it or not,a good deal of home theaterenthusiasts are spending good money on the latest and greatest A/V receiverfrom their favorite manufacturer and serving the same half-portion to theirspeakers. I can't tell you how manytimes I've run into threads on our forums or on AVS Forum where users eitherwere utterly confused about how to set the impedance selector switch on theirnew A/V receiver or they decided to set it to the low setting because theirspeakers were rated below 8-ohms and the user manual saidto do this, or Joe the Plumber set his this way and we all want to be likeJoe. Some even set the switch to the lowsetting while still running 8-ohm speakers, thinking it willbe better.
This article explores why the impedance switch exists and its intendedpurpose. Because of liability and thelitigious society we live in, I can't tell you to ALWAYS set the impedanceswitch to the high setting for 4 ohm loads, but I can show you the facts onwhat this switch does along with supportive data for you to make your owneducated decision.

If you call themanufacturer, they will tell you to ALWAYS set the switch to the low settingwhen using 4-ohm rated speakers mostly due to liability. UL/CSA labs may instruct yousimilarly. It’s a damned conspiracy! Well, not really. I know it sounds crazy to go against themanufacturer's recommendation, but hear me out before you shoot the messenger.

How Should You Set the Impedance Selector Switch on Your AV Receiver? MUST WATCH!

The Basics

Let's back up a bit and define a few basic terms to gain a better understandingof the topic at hand.

• Voltage – Is electromotive force. This is defined as apotential electrical pressure difference between two points in acircuit measured in volts (V).
• Current - flow of electrons in a circuit measured in amperes(A).
  
• AC (Alternating Current) – The electrons move to andfro in the circuit in alternating direction.
• DC (Direct current) – The electrons move in a single direction inthe circuit.
• Resistance – The measure which is the inverse of electricalconductance to direct current. This also can be considered as the ratio ofelectromotive force (Volts) divided by the flow of current (Amperes).
• Impedance – is a complex measurement of opposition to currentflow in an (AC) circuit. With AC, or alternating current(alternating at any frequency higher than Zero Hertz, which is Direct Current)impedance can be represented as the complex combination of Resistance(DCR) and Reactance (“Resistance” to AC current flow). AC ”Resistance”, technically calledImpedance is a frequency dependent, complex measurement including both amagnitude and phase component. Thiscomplex quantity is often represented as the letter “Z”.
• Power - is equal tothe product of Current and Voltage times a power factor, resulting from thephase difference (if any) between the flow of the current, and thepresence of electromotive force (Volts). This product is measured in watts (W). (In DC circuits, or even AC circuitswhere the load is purely resistive, the phase is zero, and the powerfactor is one, so the equation is simple Watts = Volts * Amperes)

WhatAbout Loudspeaker Impedance?

Loudspeaker Impedance is oftenstated as a single rating in ohms. Thisis done for the sake of simplicity, as few ,if any, real loudspeakers present aconstant load to their amplifiers. Typically, the magnitude of the loudspeaker impedance can range from afew ohms to many hundreds of ohms. Loudspeakers are electro-mechanicaltransducers that operate with AC signal input. They will also operate at DC, but only long enough for the VC to go onedirection and jump out of the magnetic gap. As a result, specifying a loudspeaker by its DC impedance or voice coilresistance is a little bit like trying to guess how much horsepower theengine produces based on the number of doors on a car. At and near the resonant frequency of the loudspeaker, its impedanceoften rises to more than 100 ohms. Thenominal impedance is basically a conservative notion of how low the speakersimpedance will go over the range of frequencies it is operating over, so thatmusical spectrum in that range will not cause the amplifier to be overloaded ifthe amount of current drawn by the loudspeaker is too high. As we can see fromthe impedance magnitude curves (bold blue) and phase (light blue) for themeasurements below, the absolute value of the speaker's Impedance variesenormously, and it is the area on the curve where the magnitude is lowest thatposes the greatest current demands on the amplifier. This is especially truewhen this low flat region corresponds to that range of frequencies where muchmusical information lies. It is theimpedance in this low region that was typically used to define the loudspeakers“nominal” impedance. Based on our definitions above, and measurements below,it's easy to see that a loudspeakers impedance is NOT constant but instead afunction of frequency which can also vary drastically from the minimum or “nominal”impedance of the loudspeaker.

Impedance/Phase of two competing speakers (Left Pic: SPK A; Right Pic: SPK B)

Both of these speakers are rated at 8-ohms by their respective manufacturers. Yet when you look more closely at the curves, they look drasticallydifferent not only from each other, but from the straight horizontal line thatwould represent a purely resistive impedance. You can see Speaker A (left pic) never dips below 8-ohms at any frequency. In this casethe manufacturer rated the speaker very conservatively. Speaker B exhibits several dips into the 6-ohm region measuring lower than 5-ohms below 20Hz. This particular loudspeakerlacks a high-pass section for its midrange speaker, so at low frequencies thosemidrange speakers are in parallel with the woofer, creating a high currentdemand on the amplifier, which can cause it to shut down. This happened to me personally when thisspeaker was driven with extremely low frequency content at high output levelsusing a very beefy Marantz Integrated amplifier rated at 200wpc. Despite thefact that there is little musical content near or below 20Hz, the amplifierstill sees that speaker as a dangerous load when driving it. If this system is using a turntable, and ifthere is a slight warp to the record, the combination of phono cartridge andRIAA equalization curve may be producing a demand for output at 15Hz from theamplifier/loudspeaker combination that could be larger in magnitude than theentire audible musical spectrum! The RIAA curve made for LP's and phonocartridges uses far higher gain at the lowest frequencies than the highest. Those of us not old enough to remember whenour music was sold on LP records may have never witnessed this. Suffice it to say, those who favor LP's overdigital media must be proud owners of high order subsonic filters as part oftheir electronic arsenal. The effect ofeven a modest amount of low frequency energy in the subsonic range can causethe loudspeaker, especially vented designs, to move wildly causing grossdistortions under extremely high excursions they were never designed for.

There is no universally adhered-to standard for how consumer loudspeakermanufacturers rate loudspeaker impedance! The EIA published a standard which has for many years been the defactostandard for determining nominal loudspeaker driver impedance. That standard stated the impedance would bemeasured at 400Hz, and the voice coil resistance should not be below 6.4-ohms for an 8-ohms speaker, or twice thatfor a 16-ohm speaker. That standard has becomeless and less common in the business as the race for sales created a pressurefor manufacturers to use ever lower DC Resistance's (DCR's) on their voicecoils to increase the apparent efficiency by drawing more power (lowerimpedance loads draw more power than higher impedance ones when attached toamplifiers) than the competition. Forequally efficient systems, the 4 ohm speaker should be 3db higher than the 8ohm speaker having identical efficiency!

Realizing the fact that impedanceis a complex and greatly variable quantity, don't get hung up on an absolutenumber for impedance. It's important tolook at the loudspeaker's impedance curve and efficiency to understand how itwill play with the amplifier it is coupled with. Impedance dips at low to middle frequencieswhere much of the power is present in music can be far more stressful on linearclass A/B amplifiers than dips in impedance magnitude at high frequencies,where demands for power are relatively small. The opposite is true for Class D amplifiers, some of which choke whenpresented with low impedance dips at high frequencies because of potentialinteractions with their output filter.