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Recording Through a 100' Snake......???
Old 16th June 2005
  #1
Question Recording Through a 100' Snake......???

I'm thinking about buying a 100' horizon snake. With 16 in's. I want to have my control room away from the drum room. I'm wondering if there are any things i should look out for.... like bad signal through 100 ft.??? Any comments would be great. I just want t o know if i'll still get the same signal/quality....
Old 16th June 2005
  #2
Lives for gear
 

Passive Ribbon mics (ie all ribbons except the Royer 122 and SF-24) may have issues over 100' but otherwise it shouldn't be a problem. Right now, I've got my orchestra 100' away plus all cable on stage and overhead... Means some of my mic runs are close to 200' long and the recordings are sounding great.

--Ben
Old 16th June 2005
  #3
Gear Maniac
 
cleantone's Avatar
 

Correct me if I'm wrong but if he were to use a ribbon mic he could put the preamp in the recording room and send signal through the snake after that right?
Old 16th June 2005
  #4
Gear Nut
 

My understanding the 275 is the suggusted limitation of XLR. Also as long as you don't exceed this ribbons woun't be a problem. If locating the pre's on the stage is an option that is always the optimal solution.
Old 17th June 2005
  #5
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sonare's Avatar
Quote:
Originally Posted by gpcramseysoral
My understanding the 275 is the suggusted limitation of XLR. Also as long as you don't exceed this ribbons woun't be a problem. If locating the pre's on the stage is an option that is always the optimal solution.
275 what? Cable capacitance is always an issue. It is best to have the pres near the mics regardless of the type of mic. And FWIW 275ft can most certainly be a problem with ribbons if you are talking mic level and Canare (or other) starquad.

Rich
Old 17th June 2005
  #6
Super Moderator
 
Remoteness's Avatar
There really is no maximum distance but, performance does suffer as the cable gets longer. High frequency roll off occurs as the capacitance builds up. As the cable gets longer more HF roll off occurs. The roll off frequency gets lower as the cable length gets longer. The input impedance of the mic pre also plays a part in all this.

I wish someone more technical than I can chime in on this subject…

Any takers out there?
Old 17th June 2005
  #7
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audioez's Avatar
 

steve you pretty much summed it up there...My old man once told me that 100' was the magic number for high freq roll off...ezra

more reson to put the preamps where the action lives, LINE LEVEL baby!!! but I know that's not practical in remote situations.
Old 17th June 2005
  #8
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superburtm's Avatar
 

I have multiple rooms snaked up(150 and 100 ft. snakes) to my new control room (18 actually, I know this sounds crazy but it's a big facility) and we have made all the rehearsal rooms, aside from the main tracking room in the building, to be able to tap into the control room) and Have experienced no problemo so far~

Old 17th June 2005
  #9
Lives for gear
 

Personally, I like putting my preamps near me.... Unless you have remote controlled pres. I find that I like to be able to dial my sound in from between the speakers. Obviously with ribbons (or any mic for that matter), you can place the pres close to the mics, but unless you have assistants that are connected by intercom or radio, setting your gain structure is a p.i.t.a.

For some of my CD sessions, I'll place pres close to the mics, but otherwise, the pres stay with me.

--Ben
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