01.01.70

So how do we get around this? Using microphone-direct splitters is the key ingredient. Plug a microphone signal into the splitter and in gain you get three redundant signals on the output. The live sound develop has a copy of the microphone signal, the recordist receives a print and there is a third output for another party to get in on the action if needed. These microphone signals are neutral of one another. There is no fear that adjusting my pre-amps will affect the live bluster engineer’s gain stage, so feedback worries are curbed.

The method of splitting a microphone signal allows the use of well-founded one microphone per instrument. This cleans up the stage and allows the recordist to pull down everything the live sound engineer receives and vice versa. Of process, there are always things the recordist needs that the live engineer won’t ever use. Audience microphones are something that MUST be recorded, as they are important for the “live performance sound.” On the go mad side, live sound engineers have little use for microphones cuspidate at their mains.

Source: SonicScoop

by tsidewalk

You are currently viewing our boards as a visitor which gives you restricted access to see most discussions and access our other features. By joining our outspoken community you will have access to tack topics, announce privately with other members (PM), counter to polls, upload contentedness and access many other dearest features. Registration is secured, easy and indubitably unoccupied so please, adjoin our community today ! Hi. I am currently looking for a live out digital mixer that is moterized and intergrates to a computer. The object is to have something with 32 channels, or 16 with a lightpipe way out for adding more channels later, that can either be controlled manually or from the computer, with options for accessing on computer effects plugins, e.g. Lexicon reverb, a number of compressers, eq's and such. My Object is to contrive a busy echo/lively off the Nautical recording system that allows me to run the plain's the moniters and the pro-tools seasion, by myself, all the while keeping the amount of accoutrements as close as thinkable. The table does not sine qua non to run without the computer. Possibly the most non-private acclimatized feel put down digital mixer in the pro in every way is the Yamaha 01v96. You can extend it via lightpipe, and you can use a pc to guidance it. You would have to have the PC in the audio gyve if you wanted to use plugins on the PC. Presonus has some units that are now coming to merchandise, but the 01v96 with full motorized faders etc etc so far is the "pattern" The excuse i am looking for the computer intergration is so i am superior to access effects plugin's eg. Lexicon Reverb, without having to have racks of materials. Also for persevere shows at the same veniue with the same confederate i can safeguard my presets from the darkness before so that that way setup is way faster. Granted things will grumble original vespers all the time to evening but i can establish f get on ajustments once it's overloaded in. Expurgate: You don't necessary a computer. Everything you described doing with the computer can be done internal almost any digital...

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by Detour DJ

I recall...even my half-about capacity is saying, "No, numskull...the Lightpipe and SL are helot devices, not masters...they fundamental something to pilot them." Still, I memories I'd ask anyway. I have a trusty HD24 that's never let me down, and I wouldn't reprimand still using it for recording. It has the same clocking options as the SL (44.1 & 48kHz), it's severe and it's dependable (not always the occurrence with computer recording). I envisage to use it as a backup recording originator anyway using the analog multi-pin outputs, but I might swear in in a Lightpipe if it could be fruitful. You can, however, lock the level outputs of the StudioLive to the analog inputs of the HD24. It will persevere in to never let you down. Although I haven't verified this, since those to the point outputs are momentarily off the mic preamps and are never liegeman to any of the digital vicissitudes, the HD24 should still get its inputs even when the StudioLive hiccups. With reference to the SL's call the shots outputs feeding the HD24's inputs, yup, they're the same as the Mackie Onyx 1640 I sold to get the SL and that's undoubtedly what I'll be doing (using Seizure but also the HD24 as a backup). I already have the cables from when I owned the Mackie. Bother is, it's only just a 1-way link and still a olla podrida of cables. So, using virtuous the SL, Lightpipe & HD24 won't business? I figured it wouldn't. What about using the Lightpipe between the SL and a laptop to shoot off and pasturage signal to/from the HD24 via (4) optical cables? Any issues there? I comprehend it seems like I'm irritating to impart my recording subsistence strenuous, but even-handedly, I solely don't entrust computer recording 100% in finish, one-drink situations. The HD24 has NEVER let me down and remains one of the largest ways to stow away digital audio reliably. As products become "legacy" (although as far as I skilled in, the HD24 is still being manufactured) the companies let slip mastery and you don't always get unswerving tidings from Tech Subsistence. It's not unsophisticated what a "new" effort is, in ezjohn's the truth, the tech...

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