Live Recording Splitter Question

[HKD126]

Sorry for the dumb question, but if I am at a venue and they already have a isolated transformer 2 way splitter set up (FOH and monitor) can I come in with another 2 way isolated transformer splitter and run the inputs into my splitters and send the direct to the console and the isolated to my recording rig via snake action? Thanks!

[bishopthomas]

Yep, you got it. Subsnakes are patched to you first, then split out to your rig and their main splitter snake. You may want to try to take the direct feed and supply phantom power, but maybe the house guys won't like that idea. Also, sometimes there's not always a monitor console set up for the gig and you can take their split. I've done this in the past, but only when I've found out that info from advancing the gig. The more gear you can leave in the truck the better!

[HKD126]

Thanks! Would it also work if I split it after the main splitter at the ins of either of the consoles and feed them the outputs that way? Just incase cable length or the set up of the show/venue is an issue... Again, sorry for the stupid questions. It makes sense in my head, but I'm just starting to get into the live recording and I want to make sure it works in practice as well as theory, haha.

[bishopthomas]

Yeah, that would work just fine. Although, especially if it's an installed console, it might be tough to get to the snake tails. If you're going to be doing this then I would definitely advance it with the venue - you don't want to make enemies as soon as you arrive.

[Barnabas]

One place I worked had a transformer splitter, but the monitor console also had direct out XLRs that weren't being used. I tapped in there without having to re-patch any of their lines.

[Remoteness]

Originally Posted by HKD126

Thanks! Would it also work if I split it after the main splitter at the ins of either of the consoles and feed them the outputs that way? Just incase cable length or the set up of the show/venue is an issue... Again, sorry for the stupid questions. It makes sense in my head, but I'm just starting to get into the live recording and I want to make sure it works in practice as well as theory, haha.

Like BishopThomas has stated, this IS the way to do it.
It can be accomplished in many ways; just find the one that works best to FOH and the recording rig.

When on location with a portable rig, I prefer recording at FOH, especially when I cannot be in a completely isolated area. The preponderance of unbalanced frequencies and loud monitors/backline coming off the stage is a real drag for me.

I want to be as far away from the stage as possible
Setting up at FOH gives you a better shot at a better sound balance.

When recording at FOH we usually bring extra XLR harnesses to handle the (possible) console "dog house" mess. This creates a much smoother tie in/out situation for the audio crew at hand.

[opentune]

Originally Posted by Remoteness

The preponderance of unbalanced frequencies and loud monitors/backline coming off the stage is a real drag for me.

I want to be as far away from the stage as possible
Setting up at FOH gives you a better shot at a better sound balance.

So true!

[E-Murder]

Originally Posted by Remoteness

I want to be as far away from the stage as possible
Setting up at FOH gives you a better shot at a better sound balance.

Great you mention this. When I toured with the Pixies the Disclive tour manager, at the time, put our truck side stage. He thought this was a great idea; unfortunately I got off the tour bus after everything was already setup and assumed he would have known to put our recording truck where the other recording trucks were located (not near the stage, but in a designated area).
Keep in mind that I was doing live mixing to 2-track for the company Disclive for a instant CD purchase. This was the Coachella Festival and the stage noise was so drastic that I couldn't hear any bass frequencies, even with the most isolated headphones. I went by physical feel and on previous settings I had from previous concerts. It actually turned out ok, but the bass (Kim Deal) was a little low as well as the kick drum.
Funny biz we're in...

[Remoteness]

I totally hear you loud and clear, but I was referring to portable rigs.

With that said, whenever possible remote trucks that are not completely isolated (sound wise) should not be parked next to the stage of a huge music festival. Parking as far away as possible is an important objective, especially when you're doing a live stereo mix.

Originally Posted by E-Murder

Great you mention this. When I toured with the Pixies the Disclive tour manager, at the time, put our truck side stage. He thought this was a great idea; unfortunately I got off the tour bus after everything was already setup and assumed he would have known to put our recording truck where the other recording trucks were located (not near the stage, but in a designated area).
Keep in mind that I was doing live mixing to 2-track for the company Disclive for a instant CD purchase. This was the Coachella Festival and the stage noise was so drastic that I couldn't hear any bass frequencies, even with the most isolated headphones. I went by physical feel and on previous settings I had from previous concerts. It actually turned out ok, but the bass (Kim Deal) was a little low as well as the kick drum.
Funny biz we're in...