What kind of mic split would be best? - Gearslutz.com Gearslutz.com
 


All Advertisers
Go Back   Gearslutz.com > The Forums > Remote Possibilities in Acoustic Music & Location Recording

Tags: ,

What kind of mic split would be best?
New Reply New Reply Thread Tools Search this Thread
Old 4th February 2005   #1
Lives for gear
 
Rick Sutton's Avatar
 
Joined: Feb 2003
Posts: 4,796

Thread Starter
What kind of mic split would be best?

I've got a folk duo to record for an album release. In addition to recording I'm also supplying a small sound reinforcement system. Normally I supply recording services only and if I need to access the house mics I take a feed from their board or use some Conquest transformer splitters on the stage to grab what I need. I don't have any high quality (although for the majority of the remotes I do the Conquest are ok) splitters so I'm wondering the best way to do this remote.
Since I'm running all the sound equipment, it will all be located at the back of the room and all gear will be on the same AC circuit. The recording will be API and Funkenwerk V72 Pres to Genex 9000 and DA38 backup. The PA will be Mackie board/Crown amp/Bose 802 speakers.

Option #1...Passive split (Y cables) the mics to both Mackie and recording pres. Obviously any phantom supplied by only one source.

Option #2.. Use the Conquest transformer splitters. Direct to recording and transformer side to Mackie. Phantom supplied from recording pres.

Any particular advantages/disadvantages to either option?
Thanks, Rick
Rick Sutton is offline  
Reply With Quote
Old 4th February 2005   #2
Gear maniac
 
StefanM's Avatar
 
Joined: Dec 2004
Location: Germany
Posts: 272

Though I don't know the Conquest splitters option #2 seems most reasonible to me. (I like to use Betatec 8-Chn. splitters)
Seperation from the pa stuff and no improper impedance loading of the mics - this is what I would want...

Stefan
StefanM is offline  
Reply With Quote
Old 24th February 2005   #3
Super Moderator
 
Remoteness's Avatar
 
Joined: Aug 2002
Location: NYC
Posts: 7,558
My Recordings/Credits

An isolated splitter is my first choice when you're interfacing with another system. Since you're providing the complete system, do you really need a splitter for this PA / recording date?

Why not Option 3?
All mics & DIs from the stage make it back to your API and Funkenwerk V72 Pres, then to your Genex 9000 with a DA38 16 bit backup. The Genex or DA38 can then feed the sMackie board to an EQ and Crown amp/Bose 802 rig. If applicable, you could set up a second mixer to monitor the other recorder. Since all the gear will be on the same AC circuit you shouldn't have a ground or buzz problem from the recording/PA interface -- It's the same system!

Also, I prefer recording from the FOH position when a control room is not available. I set up a time aligned pair of near field monitors... It works out great.
Remoteness is offline  
Reply With Quote
Old 1st March 2005   #4
Lives for gear
 
joaquin's Avatar
 
Joined: Sep 2004
Location: CHILE-Miami
Posts: 1,203

Quote:
I set up a time aligned pair of near field monitors... It works out great.
Hi Remoteness. could you explain this further?
Thank......................Joaquin.
joaquin is offline  
Reply With Quote
Old 2nd March 2005   #5
Super Moderator
 
Remoteness's Avatar
 
Joined: Aug 2002
Location: NYC
Posts: 7,558
My Recordings/Credits

When mixing and/or recording from the FOH position, I like to set up a pair of near field monitors instead of (or in addition to) a set of headphones.

I take the monitor output of the mixer and feed that to a stereo delay then to a pair of (active) speakers. I figure out the distance FOH is from the stage math or the old fashion way.

Determining the correct amount of MS the old fashion way (using your ears) is a pretty simple plan. Have someone hit the snare, feed that through the PA. Bring up the level on your FOH near fields and dial in the stereo delay until the snare sounds perfectly aligned to what you're hearing from the stage. Once you have achived this set it and forget it. You may need to modify the number if the room temperture changes.

I have a headphone amp connected to the additional delay outputs. The headphones are also time aligned.

I use a Klark Teknik DN7204 for this task. It's a 2 by 4 delay with some cool extras.
Remoteness is offline  
Reply With Quote
Old 2nd March 2005   #6
Lives for gear
 
joaquin's Avatar
 
Joined: Sep 2004
Location: CHILE-Miami
Posts: 1,203

WOW!! Such simple things comes from profound knowledge...Thank you
joaquin is offline  
Reply With Quote
Old 14th March 2005   #7
Super Moderator
 
Remoteness's Avatar
 
Joined: Aug 2002
Location: NYC
Posts: 7,558
My Recordings/Credits

Thanks bro! I'm just trying to be helpful.
Remoteness is offline  
Reply With Quote
New Reply New Reply Submit Thread to Facebook Facebook  Submit Thread to Twitter Twitter  Submit Thread to LinkedIn LinkedIn 

Thread Tools Search this Thread
Search this Thread:

Advanced Search

Similar Threads
Thread Thread starter Forum Replies Last Post
Why do you want to go split that perfectly good mic anyway? Remoteness Remote Possibilities in Acoustic Music & Location Recording 67 11th April 2013 12:48 PM
Split thread - mic vs comps. Drumsound Low End Theory 5 22nd May 2005 02:02 PM
Best way to split a mic pre line out? DrShann High end 7 13th February 2005 05:47 AM
Using a Y to split mic into 2 preamps? Coldsnow So much gear, so little time! 6 2nd February 2004 02:31 PM


All times are GMT +1. The time now is 04:16 PM.

Home - Search Forum - Contact Us - Terms Of Use / Privacy Policy - Advertise on Gearslutz - All Advertisers - Top
 
 
Powered by vBulletin®
Gearslutz.com LTD - UK Company Number 7597610.
Registered Office - 35 Ballards Lane, London, N3 1XW.
Hosted by Nimbus Hosting.

By using this site, you agree to our use of cookies.

SEO by vBSEO ©2011, Crawlability, Inc.