Quote:
Originally Posted by Gerax  I agree with what's been said above: use the mixer to monitor the tape outputs from the recorder; even though this means you need another set of preamps to feed the mics to, it's the best way to be sure of what you are recording.
I always do it this way, as I use a separate rack of pres going straight into my recorders (primary and backup via a dual digital output on the pres) and then put my mixer at the back. Whenever I've had to provide a broadcast mix feed or a reference mix for video crews I took it from the output of the mixer, the analog balanced one, as the "tape out" goes to a CD burner for a quick ref CD after show. It's the best way. If you mind of spikes or levels getting funny for the broadcast
L.G. |
thanks to all for the consideration/input.
i might just take the approach of going out of my HD24 into a mixer for
confidence and ease. i should mention that i'll probably have to outfit
myself w/ a full-on PT rig for recording w/ TC sync since the HD24 doesn't
do that w/out some trickery...and since i'll want a redundant recorder
anyway, my HD24 will serve that purpose.
i had planned on going out of my Presonus mic pres to the 2 different
recording mediums (media?) using a combination of lightpipe, analog, and
AES/EBU outputs of the Presonus...a pretty cool feature of Digimax 96.
in another thread, someone mentioned using a half-normaled patch bay
as their post mic-pre line level splitter. that's pretty cool too.
oh, and there will be no sound checks between bands. i'm just loving
that, of course. guess i'll have one of my people watching the mic
pres and levels while i'm mixing my sweaty little ass off on the fly.
thanks again to everyone...i'll keep you posted if this gig comes through.
marty.