Wow look at that... 64 drum mics!

[Remoteness]

Originally Posted by drew

Mixers have this called a cut switch, it allows you to turn things off. I've yet to see one called "Spot mic on the solo Cellist"

Perhaps, but in this situation they were referring to the fact that the drum kit was leaking into all the orchestra mics, hence the title of "64 drum mics."

[Indrestudios]

Steve's got it.

[drew]

I think you guys misunderstood me. He was implying that Michael was using too many mics. I was saying I'd rather have too many mics, some of which you can turn off in not needed, whereas you can't "create" a mic after the fact. Got it?

[Remoteness]

Originally Posted by drew

I think you guys misunderstood me. He was implying that Michael was using too many mics. I was saying I'd rather have too many mics, some of which you can turn off in not needed, whereas you can't "create" a mic after the fact. Got it?

No, I don't get it...

I believe Firefox was refering to "too many mics on the drums" which you quoted and then replied to.

In any event, I hear where you're coming from, but...

[drew]

whatever. It's like pullin teeth around here sometimes....

[Remoteness]

Originally Posted by drew

whatever. It's like pullin teeth around here sometimes....

Yeah, it can be a drag when people are corrected.

[drew]

Originally Posted by Remoteness

Yeah, it can be a drag when people are corrected.

You're "correcting" me responding to a post that you "believe" meant one thing when I believe it meant another. Yeah, thanks.

[Remoteness]

Originally Posted by drew

You're "correcting" me responding to a post that you "believe" meant one thing when I believe it meant another. Yeah, thanks.

Yeah, and that is a drag....

The only difference is my belief is on point.

What a drag!

Originally Posted by Indrestudios

Yep, Steve's right - the title refers to the problem of bleed with that many mics on stage...

Originally Posted by Indrestudios

Steve's got it.

[Remoteness]

Originally Posted by Indrestudios

L.G. The Presonus Digimax have been great units for us. Solid, quiet, plenty of headroom, and very affordable. We clock the whole rig with a Lucid SSG192, designed to get the best possible conversion out of them. I wanted to build a rack of 48 (now growing to 64) identical pres. On a typical concert recording or broadcast we're usually handed a 48 channel input list and told to "make it work". When I explain the system (Presonus / RME / Fiber / RADAR & PT) to the producer and or engineer - everyone has been quite happy. Even better, when they sit down in the truck to hear their tracks, it's dead quiet, super clean - and generally very workable for post production...

Let us get back on track.

Michael, how do the Presonus Digimax compare to the mic pres on board your mobile or are you using Digimax pre all around?

[drew]

Nice moderation there Steve. You treat your clients like that?

You had two different possible responses to this thread. People who weren't understanding or not reading (thinking it was about 64 mics on a drum kit) and people who may have thought Michael was using too many mics on the gig. I thought Firefox was responding in the latter form and responded to his post. You thought Firefox was responding in first way and therefore didn't get my response. Only Firefox and can "correct" me if I misinterpreted his post. Got it now?

[Remoteness]

Reading is fundamental I'm afraid.

This can happen when people do not read the post or thread through before they respond...

We are all human; humans make mistakes and, life goes on.

Originally Posted by drew

Nice moderation there Steve. You treat your clients like that?

You had two different possible responses to this thread. People who weren't understanding or not reading (thinking it was about 64 mics on a drum kit) and people who may have thought Michael was using too many mics on the gig. I thought Firefox was responding in the latter form and responded to his post. You thought Firefox was responding in first way and therefore didn't get my response. Only Firefox and can "correct" me if I misinterpreted his post. Got it now?

[Jules]

OK Back on topic now please Drew..

[drew]

I think those Digimax pres are underrated for sure. I've done a fair bit of live recording with my little HD24/Digimax rig and I'm usually surprised at how good the tracks can sound. I think Michael's MP3 bears that out.

[Indrestudios]

The Presonus pres have been great for us. Steve, we don't use any of the pres on the truck. Everything is inside the venue and sent out digitally on the fiber.

I did take the Joel sample down, but here's a couple more (all Digimax LT) tracked songs. These have been out in the public for a while While the Presonus' are not as beefy in the low to low-mid range as some swanky studio pres (api, neve, etc.) I think they do a good job for capturing live performances.

Norah Jones & band, "Live at the World Cafe" radio show a few years back:
http://www.indrestudios.com/norah.mp3

The Fray, "Live at the Electric Factory" itunes exclusive concert:
http://www.indrestudios.com/thefray.mp3

Solas, great Irish group, recorded at their 10th anniversary concert:
http://www.indrestudios.com/solas.mp3

[GKennedy]

How are you clocking it all? I am setting up something similar with audient mic amps into a RME adat to MADI box and then MADI to a DM2000 in a theatre dressing room as a CR. I cant decide wether to have the master clock at the stage box end (where there is more stuff that needs clocking) or in the control room where I can see all the lights.

GK

[Indrestudios]

Personally, I like having the clock in the truck. I can see all of the settings and make changes if needed. We send WC down the fiber to the pre rack. The RME box has a single WC output which in our case feeds a clock distributor, so each pre has a dedicated clock line with no "daisy chaining".