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Gear / Technical Help => Ask The Tapers => Topic started by: Dan33185 on March 13, 2023, 02:21:23 PM
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I'm wondering if anyone has experience recording off a SBD using a Zoom H2? I didn't think it was possible as I assumed most SBD recordings needed an XLR connection, and the Zoom H2 only has a 3.5mm connection. But, I have seen a few SBD recording using this model, so it's clearly possible...is it as simple as hooking up a 3.5mm aux cord to the SBD? I record a few musicians who use a type of board seen below, so I'm thinking I should be able to just plug in to it?
(https://exporentals.com/itemimages/4747.jpg)
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There are XLR to 3.5MM cables out there.
I've got a kit for my 3.5MM input recorders with adapters - RCA male to 3.5 MM male cable, with XLR to RCA converters, and 1/4" to RCA converters. I also keep an attenuation cable on hand since a lot of board feeds come in hot. If you have something like this, you're more or less prepared for any circumstance.
If I know the venue and equipment, I skip all that and just bring the correct cable.
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There are XLR to 3.5MM cables out there.
I've got a kit for my 3.5MM input recorders with adapters - RCA male to 3.5 MM male cable, with XLR to RCA converters, and 1/4" to RCA converters. I also keep an attenuation cable on hand since a lot of board feeds come in hot. If you have something like this, you're more or less prepared for any circumstance.
If I know the venue and equipment, I skip all that and just bring the correct cable.
Something like this?
https://www.amazon.com/10db-Balanced-Xlr-Attenuator/dp/B00AZTWD3S
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https://www.amazon.com/Y-Splitter-Unbalanced-Adapter-Interconnect-Breakout/dp/B083R4YG7Y/ref=sr_1_4_sspa?crid=5TA5RO9J31F6&keywords=xlr+MALE+to+3.5mm&qid=1678735780&sprefix=xlr+male+to+3.5mm%2Caps%2C109&sr=8-4-spons&psc=1&spLa=ZW5jcnlwdGVkUXVhbGlmaWVyPUEzNlpKOUwyRkVTSjYwJmVuY3J5cHRlZElkPUEwNTU4MDM1MU5MNUJERjZHSzNCUiZlbmNyeXB0ZWRBZElkPUEwMzE5OTQzMThYN0hZMTAyUjhEQSZ3aWRnZXROYW1lPXNwX2F0ZiZhY3Rpb249Y2xpY2tSZWRpcmVjdCZkb05vdExvZ0NsaWNrPXRydWU=
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https://www.amazon.com/Y-Splitter-Unbalanced-Adapter-Interconnect-Breakout/dp/B083R4YG7Y/ref=sr_1_4_sspa?crid=5TA5RO9J31F6&keywords=xlr+MALE+to+3.5mm&qid=1678735780&sprefix=xlr+male+to+3.5mm%2Caps%2C109&sr=8-4-spons&psc=1&spLa=ZW5jcnlwdGVkUXVhbGlmaWVyPUEzNlpKOUwyRkVTSjYwJmVuY3J5cHRlZElkPUEwNTU4MDM1MU5MNUJERjZHSzNCUiZlbmNyeXB0ZWRBZElkPUEwMzE5OTQzMThYN0hZMTAyUjhEQSZ3aWRnZXROYW1lPXNwX2F0ZiZhY3Rpb249Y2xpY2tSZWRpcmVjdCZkb05vdExvZ0NsaWNrPXRydWU=
Maybe a dumb question...what would be the purpose/advantage for getting a Dual XLR adapter as opposed to a single like this?
(https://m.media-amazon.com/images/W/IMAGERENDERING_521856-T1/images/I/61BPKw6MWrL.jpg)
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You're only going to get one channel from the SBD
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You're only going to get one channel from the SBD
So Mono basically...good to know, that would have sucked :lol: As far as an attenuator, is an adjustable one, like this (https://www.amazon.com/Hosa-ATT-448-Input-Attenuator-XLR3F/dp/B000K67U52), prefferable?
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https://www.amazon.com/Y-Splitter-Unbalanced-Adapter-Interconnect-Breakout/dp/B083R4YG7Y/ref=sr_1_4_sspa?crid=5TA5RO9J31F6&keywords=xlr+MALE+to+3.5mm&qid=1678735780&sprefix=xlr+male+to+3.5mm%2Caps%2C109&sr=8-4-spons&psc=1&spLa=ZW5jcnlwdGVkUXVhbGlmaWVyPUEzNlpKOUwyRkVTSjYwJmVuY3J5cHRlZElkPUEwNTU4MDM1MU5MNUJERjZHSzNCUiZlbmNyeXB0ZWRBZElkPUEwMzE5OTQzMThYN0hZMTAyUjhEQSZ3aWRnZXROYW1lPXNwX2F0ZiZhY3Rpb249Y2xpY2tSZWRpcmVjdCZkb05vdExvZ0NsaWNrPXRydWU=
Every board patch I've gotten has required female XLR.
There are XLR to 3.5MM cables out there.
I've got a kit for my 3.5MM input recorders with adapters - RCA male to 3.5 MM male cable, with XLR to RCA converters, and 1/4" to RCA converters. I also keep an attenuation cable on hand since a lot of board feeds come in hot. If you have something like this, you're more or less prepared for any circumstance.
If I know the venue and equipment, I skip all that and just bring the correct cable.
Something like this?
https://www.amazon.com/10db-Balanced-Xlr-Attenuator/dp/B00AZTWD3S
I used a 25db pad, but yes, that's the idea. Some folks have told me they just run line-in and haven't had any issues, but I've yet to be so lucky.
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https://www.amazon.com/Y-Splitter-Unbalanced-Adapter-Interconnect-Breakout/dp/B083R4YG7Y/ref=sr_1_4_sspa?crid=5TA5RO9J31F6&keywords=xlr+MALE+to+3.5mm&qid=1678735780&sprefix=xlr+male+to+3.5mm%2Caps%2C109&sr=8-4-spons&psc=1&spLa=ZW5jcnlwdGVkUXVhbGlmaWVyPUEzNlpKOUwyRkVTSjYwJmVuY3J5cHRlZElkPUEwNTU4MDM1MU5MNUJERjZHSzNCUiZlbmNyeXB0ZWRBZElkPUEwMzE5OTQzMThYN0hZMTAyUjhEQSZ3aWRnZXROYW1lPXNwX2F0ZiZhY3Rpb249Y2xpY2tSZWRpcmVjdCZkb05vdExvZ0NsaWNrPXRydWU=
Every board patch I've gotten has required female XLR.
There are XLR to 3.5MM cables out there.
I've got a kit for my 3.5MM input recorders with adapters - RCA male to 3.5 MM male cable, with XLR to RCA converters, and 1/4" to RCA converters. I also keep an attenuation cable on hand since a lot of board feeds come in hot. If you have something like this, you're more or less prepared for any circumstance.
If I know the venue and equipment, I skip all that and just bring the correct cable.
Something like this?
https://www.amazon.com/10db-Balanced-Xlr-Attenuator/dp/B00AZTWD3S
I used a 25db pad, but yes, that's the idea. Some folks have told me they just run line-in and haven't had any issues, but I've yet to be so lucky.
Yeah, you are correct. I pulled mine out last night, this is it. I'm one of those line in people who has never used an attenuator. Probably just been lucky
https://www.sweetwater.com/c780--Insert_Y_Cables?highlight=CYX405F&mrkgadid=&mrkgcl=28&mrkgen=&mrkgbflag=&mrkgcat=&acctid=21700000001645388&dskeywordid=92700073385564753&lid=92700073385564753&ds_s_kwgid=58700008069260217&ds_s_inventory_feed_id=97700000007215323&dsproductgroupid=1798710459014&product_id=CYX405F&prodctry=US&prodlang=en&channel=online&storeid=&device=c&network=u&matchtype=&adpos=largenumber&locationid=9009973&creative=625135836145&targetid=pla-1798710459014&campaignid=18467073279&awsearchcpc=&&&gclid=Cj0KCQjwtsCgBhDEARIsAE7RYh2R8LXh_aW1lHzarBsCBmb-Er1WctwByH41_x2-iESBA01tuFgMbdQaAnKMEALw_wcB&gclsrc=aw.ds
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https://www.amazon.com/Y-Splitter-Unbalanced-Adapter-Interconnect-Breakout/dp/B083R4YG7Y/ref=sr_1_4_sspa?crid=5TA5RO9J31F6&keywords=xlr+MALE+to+3.5mm&qid=1678735780&sprefix=xlr+male+to+3.5mm%2Caps%2C109&sr=8-4-spons&psc=1&spLa=ZW5jcnlwdGVkUXVhbGlmaWVyPUEzNlpKOUwyRkVTSjYwJmVuY3J5cHRlZElkPUEwNTU4MDM1MU5MNUJERjZHSzNCUiZlbmNyeXB0ZWRBZElkPUEwMzE5OTQzMThYN0hZMTAyUjhEQSZ3aWRnZXROYW1lPXNwX2F0ZiZhY3Rpb249Y2xpY2tSZWRpcmVjdCZkb05vdExvZ0NsaWNrPXRydWU=
Every board patch I've gotten has required female XLR.
There are XLR to 3.5MM cables out there.
I've got a kit for my 3.5MM input recorders with adapters - RCA male to 3.5 MM male cable, with XLR to RCA converters, and 1/4" to RCA converters. I also keep an attenuation cable on hand since a lot of board feeds come in hot. If you have something like this, you're more or less prepared for any circumstance.
If I know the venue and equipment, I skip all that and just bring the correct cable.
Something like this?
https://www.amazon.com/10db-Balanced-Xlr-Attenuator/dp/B00AZTWD3S
I used a 25db pad, but yes, that's the idea. Some folks have told me they just run line-in and haven't had any issues, but I've yet to be so lucky.
Yeah, you are correct. I pulled mine out last night, this is it. I'm one of those line in people who has never used an attenuator. Probably just been lucky
https://www.sweetwater.com/c780--Insert_Y_Cables?highlight=CYX405F&mrkgadid=&mrkgcl=28&mrkgen=&mrkgbflag=&mrkgcat=&acctid=21700000001645388&dskeywordid=92700073385564753&lid=92700073385564753&ds_s_kwgid=58700008069260217&ds_s_inventory_feed_id=97700000007215323&dsproductgroupid=1798710459014&product_id=CYX405F&prodctry=US&prodlang=en&channel=online&storeid=&device=c&network=u&matchtype=&adpos=largenumber&locationid=9009973&creative=625135836145&targetid=pla-1798710459014&campaignid=18467073279&awsearchcpc=&&&gclid=Cj0KCQjwtsCgBhDEARIsAE7RYh2R8LXh_aW1lHzarBsCBmb-Er1WctwByH41_x2-iESBA01tuFgMbdQaAnKMEALw_wcB&gclsrc=aw.ds
I'm trying to figure out how that would connect to a SBD...wouldn't I need a male adapter?
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Inputs are male; outputs are female. The cable that is
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Inputs are male; outputs are female. The cable that is
Right, so I would need a male cable?
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Inputs are male; outputs are female. The cable that is
Best to flip that phrasing around to make things less confusing.
Usually, XLR inputs on gear are female and outputs on gear are male. The cables required to mate with the XLR connections on the gear will be of the opposite gender.
^
This is almost always true of XLR connections - microphones, preamps, recorders, mixing boards, outboard gear.. The gender of the connection reflects the signal flow direction.
It is not true of TRS connections, which almost always use a female connection on gear for both input and output, requiring male connectors at both ends of interconnects. So in that case the gender of the connection does not reflect the signal flow direction. A good example of this is headphones, where: female out > male in.
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Take a look at this photo. The four the left are inputs; the two on the right are outputs
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Inputs are male; outputs are female. The cable that is
Best to flip that phrasing around to make things less confusing.
Usually, XLR inputs on gear are female and outputs on gear are male. The cables required to mate with the XLR connections on the gear will be of the opposite gender.
^
This is almost always true of XLR connections - microphones, preamps, recorders, mixing boards, outboard gear.. The gender of the connection reflects the signal flow direction.
It is not true of TRS connections, which almost always use a female connection on gear for both input and output, requiring male connectors at both ends of interconnects. So in that case the gender of the connection does not reflect the signal flow direction. A good example of this is headphones, where: female out > male in.
Yeah, I could have worded that better.
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Right, so I would need a male cable?
To record a stereo balanced line-out from the SBD via XLR, the SDB end of the interconnect(s) should have two female XLR connectors.
The connector(s) needed at the other end of the interconnect depends on the inputs of your recorder. If the inputs are mono XLR, then male. If the inputs are 2 mono balanced TRS, then male. If the inputs are a stereo mini-jack, than 3.5mm male.. but in that case how the cable(s) are wired to the 3.5mm TRS mini-plug then becomes an important detail.
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Take a look at this photo. The four the left are inputs; the two on the right are outputs
Aha, that makes more sense...guess I'm more of a visual person :lol: Thanks for the help, I think I've got down what I need now.
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Take a look at this photo. The four the left are inputs; the two on the right are outputs
Aha, that makes more sense...guess I'm more of a visual person :lol: Thanks for the help, I think I've got down what I need now.
This is what you need
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This is my cart right now, I figured it wouldn't hurt to get the male connector just in case I run into that situation.
(https://i.imgur.com/xahZcvc.png)
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If the inputs [to your recorder] are a stereo mini-jack, than 3.5mm male.. but in that case how the cable(s) are wired to the 3.5mm TRS mini-plug then becomes an important detail.
^
To clarify that detail..
It's really unfortunate that most listings for those kind of balanced 2 x XLR > unbalanced TRS stereo-mini plug interconnect cables don't indicate how they are wired. One of the photos should be a simple circuit diagram. Hopefully the negative pin (pin 3) of each XLR is left unconnected. That wiring scheme will work with most modern mixing board outputs using electronically-balanced outputs (where each leg of the balanced circuit is referenced to ground).
However, just so you all are aware, that wiring scheme won't work when connecting to outputs that are transformer-balanced. In that case the positive and negative legs of the balanced circuit (pin 2, pin 3) form a circuit through the transformer winding and are floating with respect to ground, so an open circuit due to a unconnected pin 3 won't work.
Simple take on this here- More on cable wiring - balanced to unbalanced - Sweetwater (https://www.sweetwater.com/insync/more-cable-wiring-balanced-unbalanced/)
[edit-
Specifically, the wiring for connecting separate, electronically-balanced, XLR left and XLR right outputs to an unbalanced stereo TRS input should be as follows:
Left channel XLR Pin 1 (ground) to TRS sleeve. XLR Pin 2 (positive) to TRS tip. XLR Pin 3 (negative) to no connection.
Right channel XLR Pin 1 (ground) to TRS sleeve. XLR Pin 2 (positive) to TRS ring. XLR Pin 3 (negative) to no connection.]
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One more question...do I need to adjust my recording volume when recording off a SBD, or will it just record at whatever level the SBD is outputting? If I do need to set a volume, what is recommended with a -10db attenuator? The Zoom goes from 1-100 I believe, I usually record at 90-95 when recording audio depending on my position.
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You will need to set levels just as when using any other input. Hard to know in advance how much gain the FOH console applies to output, so be ready to be nimble fingered.
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Having a recorder that lets you adjust levels remotely or a 32-bit float recorder helps a ton. I wouldn't want to do a board feed without these modern conveniences but I know most folks here didn't have that option originally
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Just wanted to say thanks for the help in this thread, I was able to figure out what I needed and made my first SBD recording last night, which turned out great (sample below). I had a lot of nervousness approaching the sound guy for a feed, but he was really great about it and made it easy for me. I'm sure they won't all go that easy, but it was a good first experience.
https://drive.google.com/file/d/1KSbLXYTOh76J1vw010XyfDDhvLDf0BcS/view?usp=sharing
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Just wanted to say thanks for the help in this thread, I was able to figure out what I needed and made my first SBD recording last night, which turned out great (sample below). I had a lot of nervousness approaching the sound guy for a feed, but he was really great about it and made it easy for me. I'm sure they won't all go that easy, but it was a good first experience.
https://drive.google.com/file/d/1KSbLXYTOh76J1vw010XyfDDhvLDf0BcS/view?usp=sharing
We're both in Minnesota, I presume. If it helps put you at ease, the sound engineers have all been pretty chill with me to date. I just started with board recordings in the past year and aside from an issue with a manager at a larger venue around here, it's been good.
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Just wanted to say thanks for the help in this thread, I was able to figure out what I needed and made my first SBD recording last night, which turned out great (sample below). I had a lot of nervousness approaching the sound guy for a feed, but he was really great about it and made it easy for me. I'm sure they won't all go that easy, but it was a good first experience.
https://drive.google.com/file/d/1KSbLXYTOh76J1vw010XyfDDhvLDf0BcS/view?usp=sharing
We're both in Minnesota, I presume. If it helps put you at ease, the sound engineers have all been pretty chill with me to date. I just started with board recordings in the past year and aside from an issue with a manager at a larger venue around here, it's been good.
Yeah, I'm in MN as well. I rarely go to larger venues (most are under a few hundred), so in general they seem way more laid back than a First Avenue or something of that size. A lot of it probably depends on attitude as well, I always make it clear to the artist or anytime someone at the venue asks me about recording that I don't do it for money or any kind of gain, and am always willing to stop if it becomes an issue. Most artists I record though seem happy anyone cares enough to, which is cool.
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Just wanted to say thanks for the help in this thread, I was able to figure out what I needed and made my first SBD recording last night, which turned out great (sample below). I had a lot of nervousness approaching the sound guy for a feed, but he was really great about it and made it easy for me. I'm sure they won't all go that easy, but it was a good first experience.
https://drive.google.com/file/d/1KSbLXYTOh76J1vw010XyfDDhvLDf0BcS/view?usp=sharing
We're both in Minnesota, I presume. If it helps put you at ease, the sound engineers have all been pretty chill with me to date. I just started with board recordings in the past year and aside from an issue with a manager at a larger venue around here, it's been good.
Yeah, I'm in MN as well. I rarely go to larger venues (most are under a few hundred), so in general they seem way more laid back than a First Avenue or something of that size. A lot of it probably depends on attitude as well, I always make it clear to the artist or anytime someone at the venue asks me about recording that I don't do it for money or any kind of gain, and am always willing to stop if it becomes an issue. Most artists I record though seem happy anyone cares enough to, which is cool.
Yeah, i havent had anyone question my motives. Just someone at First Ave that got worked up about me clamping to a rail before any of the music started. It's a cool hobby. If I see you around, I'll be sure to say hi!
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Alright, second effort wasn't as successful. I went to hook up to the soundboard and realized there were no XLR ports for me to hook in to. I'll attach a picture of the board and model, not sure if anyone has experience recording off this type of board, I'm not sure what I'd need in the future for this.
(https://i.imgur.com/A7ASTgd.jpg)
(https://i.imgur.com/ifHWwSX.jpg)
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A pair of Hosa Technology GXP246 Stereo Male 1/4" Phone to Male 3-Pin XLR Adapters will work, plug into the 'main' outs. Then plug your existing adapter in and you're good.
https://www.bhphotovideo.com/c/product/252359-REG/Hosa_Technology_GXP_246_GXP246_Stereo_Phone_to.html?ap=y&smp=y&smpm=ba_f2_ll&srsltid=Ad5pg_E4ghC3XSm_JyV_yZkIOln5Vu0WEfn6GghFPS6HsbnvDDCZpfdsAIc
You might want to put together a SBD adapters kit, so you can get signal in any situation with any house gear. Dumped mine out on the desk, pics below. I've slowly added to the bag, may be some duplication, but it's a small thing compared to the total mass of stuff I lug into the venue...
Pic 1:
1: 2 x xlrf to 1/8m like you have
2: 2 x rcam to 1/8f
3: 10db attenuating 2 x rcam to 1/8m
4: 10' 1/8m to 1/8m
5: 18" 1/8m to 1/8m
6: Hosa Male TRS 1/4" to XLRM I recommend above
pic 2
7: 1/4trs to rcaf - the 2 of em are above and below #8
8: 1/4trs to 1/8f - headphone converter, a couple times I've had to run headphone out, ugh
9: rcaf to rcaf gender converters
10: 2 x rcaf to 1/8 male
11: 1/8f to 1/9f gender converter
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A pair of Hosa Technology GXP246 Stereo Male 1/4" Phone to Male 3-Pin XLR Adapters will work, plug into the 'main' outs. Then plug your existing adapter in and you're good.
https://www.bhphotovideo.com/c/product/252359-REG/Hosa_Technology_GXP_246_GXP246_Stereo_Phone_to.html?ap=y&smp=y&smpm=ba_f2_ll&srsltid=Ad5pg_E4ghC3XSm_JyV_yZkIOln5Vu0WEfn6GghFPS6HsbnvDDCZpfdsAIc
You might want to put together a SBD adapters kit, so you can get signal in any situation with any house gear. Dumped mine out on the desk, pics below. I've slowly added to the bag, may be some duplication, but it's a small thing compared to the total mass of stuff I lug into the venue...
Pic 1:
1: 2 x xlrf to 1/8m like you have
2: 2 x rcam to 1/8f
3: 10db attenuating 2 x rcam to 1/8m
4: 10' 1/8m to 1/8m
5: 18" 1/8m to 1/8m
6: Hosa Male TRS 1/4" to XLRM I recommend above
pic 2
7: 1/4trs to rcaf - the 2 of em are above and below #8
8: 1/4trs to 1/8f - headphone converter, a couple times I've had to run headphone out, ugh
9: rcaf to rcaf gender converters
10: 2 x rcaf to 1/8 male
11: 1/8f to 1/9f gender converter
Funny enough, that was the first thing that ran through my mind once I realized I didn't have the right cable, "I need to make sure I have every possible connection so I never have to worry about that happening again". So your list is a huge help, I'll look through it and try to find as much as I can, thanks!
EDIT- I had another singer I want to record send me her SBD, and this is what it looks like. I would just plug in to the top right, correct?
(https://i.imgur.com/oE4K6NV.jpg)
And would it matter which cable goes in to which port (L/R)?
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yes
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A pair of Hosa Technology GXP246 Stereo Male 1/4" Phone to Male 3-Pin XLR Adapters will work, plug into the 'main' outs. Then plug your existing adapter in and you're good.
https://www.bhphotovideo.com/c/product/252359-REG/Hosa_Technology_GXP_246_GXP246_Stereo_Phone_to.html?ap=y&smp=y&smpm=ba_f2_ll&srsltid=Ad5pg_E4ghC3XSm_JyV_yZkIOln5Vu0WEfn6GghFPS6HsbnvDDCZpfdsAIc
You might want to put together a SBD adapters kit, so you can get signal in any situation with any house gear. Dumped mine out on the desk, pics below. I've slowly added to the bag, may be some duplication, but it's a small thing compared to the total mass of stuff I lug into the venue...
Pic 1:
1: 2 x xlrf to 1/8m like you have
2: 2 x rcam to 1/8f
3: 10db attenuating 2 x rcam to 1/8m
4: 10' 1/8m to 1/8m
5: 18" 1/8m to 1/8m
6: Hosa Male TRS 1/4" to XLRM I recommend above
pic 2
7: 1/4trs to rcaf - the 2 of em are above and below #8
8: 1/4trs to 1/8f - headphone converter, a couple times I've had to run headphone out, ugh
9: rcaf to rcaf gender converters
10: 2 x rcaf to 1/8 male
11: 1/8f to 1/9f gender converter
Funny enough, that was the first thing that ran through my mind once I realized I didn't have the right cable, "I need to make sure I have every possible connection so I never have to worry about that happening again". So your list is a huge help, I'll look through it and try to find as much as I can, thanks!
EDIT- I had another singer I want to record send me her SBD, and this is what it looks like. I would just plug in to the top right, correct?
(https://i.imgur.com/oE4K6NV.jpg)
And would it matter which cable goes in to which port (L/R)?
The XLRs in top right will most certainly be in use for the PA. If so, use the two 1/4" right below them. R/L does technically matter, but likely none of the channels are going to be panned anyway on such a small board.
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On boards like that last one pictured I use the "control room outs" even if one of the main outputs is available.
It's good to have a separate level control that won't affect the main outputs at all - especially if you are using a mini jack recorder input that may overload if you can't attenuate it.
re: panning - on a board like that one you can just look at the row of pan knobs. If everything is at 12:00 it's running in mono and it doesn't matter (except for effects that use stereo panning). If things are panned right/left make sure your cables are plugged in correctly. You prob should be in the habit of making sure your R/L channels are always plugged in correctly anyway no matter what. Mark them with tape and a sharpie or a colored sticker with red for right if they aren't labeled already.
My usual bag of tricks is pretty simple -
long RCA to mini cable
RCA to 1/4 adapters
mini to mini female turnaround adapter
long mini to mini cable
also
1/4 to XLRM cables and 1/4 to XLRF cables
If I'm patching soundboards I'm almost always taking balanced XLR connections and running mics too into a multitrack recorder but I have all the stuff mentioned above in a crown royal bag ready for just taking a feed into mini recorder if needed.
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On boards like that last one pictured I use the "control room outs" even if one of the main outputs is available.
It's good to have a separate level control that won't affect the main outputs at all - especially if you are using a mini jack recorder input that may overload if you can't attenuate it.
I did buy this attenuator (https://www.amazon.com/dp/B00AZTWD3S?psc=1&ref=ppx_yo2ov_dt_b_product_details)...so I'd be connecting it like: Zoom H2 > XLR to 3.5 MM adapter > Attenuator > 1/4" Phone to XLR Adapter > SBD. Would I need an additional attenuator for the 1/4" adapter?
Also, maybe a dumb question...L/R isn't marked at all on either cable I have...is there a way to tell which is which, or basically just wait until it's plugged in and see which channel is active for each side?
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So many things to say here, but if this is the original Zoom H2, then the line input should not exceed .775 volts (peak I think!)
I used the Core-Sound -11 dB mini-to-mini attenuator for my successful recordings with it, starting AFTER I botched the meat puppets in fall 2007 by not knowing about the limited input levels on the ORIGINAL ZOOM H2. (not the N)
https://www.core-sound.com/shop/attenuator-cables (https://www.core-sound.com/shop/attenuator-cables)
You can test the channels of your cable at home - if you tap on an exposed cable end, it often produces a buzz, which can be used to verify left-right channel assignment at the very least.
many boards have control room out as RCA
The photo of the "full" board you show has a totally unused mono Aux 2 bus with all the mix knobs turned down. That could be employed to created a mono output mix in a pinch WITH THE TOTAL COOPERATION OF THE SOUND CREW.
If using the Zoom H2, there is exactly one best setting for input level, and I do'nt recall if it was 80/100 or what, but any setting other than that number would created a sub-optimal signal chain, either adding digital gain with a bit of noise or digitally attenuating, while adding a bit of noise...
Ozpeter and I "met" on the Zoom board so he might recall the correct answer faster than I can find it.
Good luck and let us know if you are using the H2N, it's rather different than the old "electric shaver!"
(https://i.ebayimg.com/images/g/GGoAAOSwEvxkGMPz/s-l1600.png)
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So many things to say here, but if this is the original Zoom H2, then the line input should not exceed .775 volts (peak I think!)
I used the Core-Sound -11 dB mini-to-mini attenuator for my successful recordings with it, starting AFTER I botched the meat puppets in fall 2007 by not knowing about the limited input levels on the ORIGINAL ZOOM H2. (not the N)
https://www.core-sound.com/shop/attenuator-cables (https://www.core-sound.com/shop/attenuator-cables)
You can test the channels of your cable at home - if you tap on an exposed cable end, it often produces a buzz, which can be used to verify left-right channel assignment at the very least.
many boards have control room out as RCA
The photo of the "full" board you show has a totally unused mono Aux 2 bus with all the mix knobs turned down. That could be employed to created a mono output mix in a pinch WITH THE TOTAL COOPERATION OF THE SOUND CREW.
If using the Zoom H2, there is exactly one best setting for input level, and I do'nt recall if it was 80/100 or what, but any setting other than that number would created a sub-optimal signal chain, either adding digital gain with a bit of noise or digitally attenuating, while adding a bit of noise...
Ozpeter and I "met" on the Zoom board so he might recall the correct answer faster than I can find it.
Good luck and let us know if you are using the H2N, it's rather different than the old "electric shaver!"
I am using the original H2, not the H2N, so basically it looks like a shaver as you said. I'm trying to keep up as best as I can, a lot of this is like Latin to me though :lol: I ordered a few parts I think should be adaptable to the 2 SBD's I'm trying to use right now, I'll ask here if I have more questions. Thanks for the help!
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On boards like that last one pictured I use the "control room outs" even if one of the main outputs is available.
Was going to suggest this as well. Always with the clearance and cooperation of whoever is responsible for running sound. That provides the same mix as the Main Outs but allows you or the board-operator to set the level of the "control room out" as needed to your recorder, AND remain unchanged even if the main-out level to the PA gets adjusted before/during the performance. This is relatively simple and easy to do.
Another even simpler way to achieve that is to record via the headphone out, which should work fine, assuming it is not being used. This is often the best option if you are unsure how to work the mixer, and to minimize the burden on whoever is responsible for running sound.
To use the control room outs on that Mackie GigFX mixer you'd plug into the 1/4" output jacks marked "control room", and adjust level via the pot marked "control room" just above the (green) FX pot. You may also need to turn the "blend" pot just above that all the way counter-clockwise (to inputs) and maybe push the "to phones/cr" button located between the two. As long as you touch nothing else, nothing can potentially get screwed up by doing that.
On the Mackie 1402VLZ setting up the correct control room out routing is more complicated and could potentially screw up the main output. Tread carefully. Best to have whoever is responsible do it so that you don't screw it up.
On that small Tuga PR6X mixer there is no control room out. Easy to use the headphone out though.
The photo of the "full" board you show has a totally unused mono Aux 2 bus with all the mix knobs turned down. That could be employed to created a mono output mix in a pinch
This can be the best option, but is somewhat more complicated. Like the above options it also provides a separate output at whatever level you want, which can remain unchanged during the performance, BUT ALSO can be a mix that is different than what is sent to the Main Outs. Its more complicated because that mix needs to be dialed in separately, but advantageous in that it could contain whatever you want and not what you don't. It could for instance be only vocals, which might be the best way to go if you can't really listen to the mix while dialing it in (and is generally what you need most from a SBD feed). All of the above boards are capable of this, although if there are on-stage monitors in use for the band which are being by the AUX Send of the mixer, only the 1402VLZ has a second set that might remain available for this.
WITH THE TOTAL COOPERATION OF THE SOUND CREW
^Always!
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I don't see it suggested here a lot, but most modern boards you can record direct to USB memory stick. It needs to be set up same as the line out, and the FOH may already be using it but worth a shot and does not require rooting around the back of the board.
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I am using the original H2, not the H2N, so basically it looks like a shaver as you said. I'm trying to keep up as best as I can, a lot of this is like Latin to me though :lol: I ordered a few parts I think should be adaptable to the 2 SBD's I'm trying to use right now, I'll ask here if I have more questions. Thanks for the help!
I'll scan this old thread and see if I can be more specific about the optimal input level setting. Ozpeter says it was 100/127, see quote below:
https://taperssection.com/index.php?topic=89082.0 (https://taperssection.com/index.php?topic=89082.0)
Likewise the input voltage should be listed in the actual specs, yeah they are using 0.775v as RMS which is a type of average.
https://zoomcorp.com/media/documents/E_H2.pdf (https://zoomcorp.com/media/documents/E_H2.pdf)
There's two things to consider when setting levels on the H2 - first, the level at the mic preamp, and second, the level after the analog to digital converter. If you get the first one wrong, there's nothing you can do with the second to put it right.
The first level control is the three position switch. If the little light flashes, reduce the level at the switch. If the light flashes when on the lowest setting, the level reaching the mics is too high for them to cope with. Move back if you can, or get the performers to play more quietly!
The 1-127 control is simply amplifying (positive or negative) the digits coming out of the analog to digital converter. It seems from comments elsewhere that a level of 100 neither amplifies nor reduces level - it's the "straight through" setting. If you reduce the level below 100 to try to cope with overloads, you'll probably not succeed because the overload has already happened at the mic preamp. So, don't set a level below 100. If you increase the level above 100, you're doing the same as using digital zoom on a camera, which is generally held to be a Bad Thing - there's no point in doing it in the H2 if you have the opportunity later to do it in PC audio software. The outcome will be exactly the same. If you increase the level in the H2 you might overdo it leading to digital clipping and distortion. But if you do it in the PC later, your software should be able to scan the already-recorded file and "normalise" it so that the highest peaks exactly reach the top of the meter scale. You're working with the benefit of hindsight.
The same applies to the limiters etc within the H2 - they apparently work in the digital domain and the only time they should be used is if you can't use a PC to do the same thing later. So, if you are playing back direct from the H2 and don't have the means to post process the audio in a PC, then use the limiters and increase the level above 100 if you want. But if you are going to use your PC software for postproduction, leave everything "flat" when recording (level at 100, all effects off), because you can't undo those operations later if you've recorded them in the H2.
Note that all the above comes from reading the net and the manual - I still await the arrival of the H2 here in Australia - so if anyone who has an H2 can correct my advice, go for it!
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I don't see it suggested here a lot, but most modern boards you can record direct to USB memory stick. It needs to be set up same as the line out, and the FOH may already be using it but worth a shot and does not require rooting around the back of the board.
Yeah this! Easy to keep a couple freshly formatted ones in the bag.
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So I'm starting to accumulate what I need for different soundboards, and I'm finding it might not be practical. Here's my setup for recording from a SBD that has 1/4" connection like posted previously:
(https://i.imgur.com/tsQVsdo.jpg)
As you can see, 1. it looks ridiculous (the length from the end of the cable to the tip of the plug-in is 9 inches), and 2. it's probably not practical to plug in something that size in most situations. I'm wondering if I would be better off just buying a cheap recorder that would allow me to plug an XLR cable directly in to it, and if that would avoid the need for the attenuator? Or would I need that regardless of which recorder I use?
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^ Probably. Most recorders that feature XLR inputs can accept a hot line-level input without external attentuators. Take a look at the Zoom F3
The arrangement pictured above is way too awkward and puts a lot of stress on the board's 1/4" output jacks. An alternate option with your current setup would be to use XLR cables between the 1/4" plug and the attenuators. Use a long enough cable so that you can keep the attenuators in the same bag as the recorder.
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^ Probably. Most recorders that feature XLR inputs can accept a hot line-level input without external attentuators. Take a look at the Zoom F3
The arrangement pictured above is way too awkward and puts a lot of stress on the board's 1/4" output jacks. An alternate option with your current setup would be to use XLR cables between the 1/4" plug and the attenuators. Use a long enough cable so that you can keep the attenuators in the same bag as the recorder.
The Zoom looks a little out of my price range...opinions on the Tascam DR-60D? There's one for sale for 100 bucks in Yard Sale in good condition.
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Sure, that recorder will accept a +4dBu line level output without external attenuation.
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Sure, that recorder will accept a +4dBu line level output without external attenuation.
If feeding the board feed into the channel 3/4 1/8" jack, I find I generally need 10-15 dB attenuation. I've got plenty of nice matrixes, but always with attenuation on the SBD on channel 3/4 and mics on 1/2.
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Why did my posts disappear?
Does this board have a bug, or was there a hiccup?
I use a system of three cables and one double-RCA barrel connector
The cable that is used in each configuration is the RCA male pair > Mini cable. This one goes right into the RCA outputs of the board if they are available.
If RCA is not available I have two sets of cables which terminate in male RCA:
XLR-F > RCA male pair
1/4" male > RCA male pair
Those plus the barrel connector get me from XLR, 1/4" or RCA right into mini.
For an attenuator, I'd suggest one that's mini female to mini male, like the Core Sound -11dB that worked well for me on the H2.
(https://images.monoprice.com/productlargeimages/72381.jpg)
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Sure, that recorder will accept a +4dBu line level output without external attenuation.
If feeding the board feed into the channel 3/4 1/8" jack, I find I generally need 10-15 dB attenuation. I've got plenty of nice matrixes, but always with attenuation on the SBD on channel 3/4 and mics on 1/2.
With XLR am I ok without attenuation?
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Why did my posts disappear?
Does this board have a bug, or was there a hiccup?
I use a system of three cables and one double-RCA barrel connector
The cable that is used in each configuration is the RCA male pair > Mini cable. This one goes right into the RCA outputs of the board if they are available.
If RCA is not available I have two sets of cables which terminate in male RCA:
XLR-F > RCA male pair
1/4" male > RCA male pair
Those plus the barrel connector get me from XLR, 1/4" or RCA right into mini.
For an attenuator, I'd suggest one that's mini female to mini male, like the Core Sound -11dB that worked well for me on the H2.
(https://images.monoprice.com/productlargeimages/72381.jpg)
That might be a better option for me as it would allow me to use my existing equipment with a smaller setup. I'll look in to this, thanks.
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Sure, that recorder will accept a +4dBu line level output without external attenuation.
If feeding the board feed into the channel 3/4 1/8" jack, I find I generally need 10-15 dB attenuation. I've got plenty of nice matrixes, but always with attenuation on the SBD on channel 3/4 and mics on 1/2.
With XLR am I ok without attenuation?
Should be. I've not used that recorder myself, only checked specifications which state that the XLR inputs are capable of accepting a +4dBu line level signal. Vanark has hands on use of that deck, so he's a much better authority on it. It is capable of recording four channels of input.
My take is that no attenuators should be needed for a board patch into the XLR inputs (chs 1&2), but sounds like attenuators are needed if routing the board feed into the stereo mini-plug input (ch's 3&4), if your mics are feeding the XLR inputs.
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With XLR am I ok without attenuation?
It's not so much about the connector type as it is whether the output signal is adjustable for you.
The Zoom H2 is terribly limited in its capacity to accept voltage on the line input, compared to every other recorder I have ever used.
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Specifically what you want is an input capable of accepting a professional line level signal (typically +4dBu, max), regardless of connector type.
Many/most recorders will require you to switch between mic-level and line-level input sensitivities for inputs capable of either range. So you probably need to do that. But not all can accept a line level signal as hot as that without overloading. So to be safe, check the specs. Also make sure you switch off phantom powering to those inputs when using them to record a SBD feed.
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1/4" headphone to 1/8" headphone is a useful addition to the 3 output solutions listed above
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1/4" headphone to 1/8" headphone is a useful addition to the 3 output solutions listed above
yes, for the least reliable feed, the interruptible headphone output!
If a channel's SOLO button is pressed, most boards will route (all) SOLOed channels to the headphone output, overriding the stereo feed.
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1/4" headphone to 1/8" headphone is a useful addition to the 3 output solutions listed above
yes, for the least reliable feed, the interruptible headphone output!
If a channel's SOLO button is pressed, most boards will route (all) SOLOed channels to the headphone output, overriding the stereo feed.
Totally can't tell that this has happened to you, M!
As last resort, rather than no recording, it's a backup I've had to use. Crappy headphone amp circuits make it an ever better choice 😀.
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i bought radio shack 1/8" mini stereo to 2 rca cables many years ago and cut off the ends and put xlrs on them.
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i also have male 1/8" stereo to 2 rca male and put rca female to 1/4" male adapters on the ends when i have to hook into 1/4" outs. in fact when i would go out expecting a sbd feed, i would bring the 1/8 to xlr, 1/8 to rca and the adapters. that way i have all options. ask the soundman to put your feed at 50% volume.
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I miss rat shack!
The last traditional one I went into was closing down and I was all excited to get all the cool stuff at a discount. But the sound pressure meter was only like 10% off, and I have an app for that on my phone. And the weather station was not deeply discounted and I have an app for that on my phone... see where this is going?
The next time I went to a radio shack location, it was a small place that sold mostly phone accessories!
:-[
i also have male 1/8" stereo to 2 rca male and put rca female to 1/4" male adapters on the ends when i have to hook into 1/4" outs. in fact when i would go out expecting a sbd feed, i would bring the 1/8 to xlr, 1/8 to rca and the adapters. that way i have all options. ask the soundman to put your feed at 50% volume.
I love the ones from Radio Shack, but the ones I got from monoprice fall apart!
I sure would hate to jam up a club's sound board when my 99 cent gold plated plastic crap gets lodged in it at the end of a show!
Here's a nice $17 one from Switchcraft. I would trust them but that seems pretty steep, haha.
(https://media.sweetwater.com/api/i/q-82__ha-4ed2d88c4f5bc42f__hmac-ad4fe5a5636cb6d91e7c5910fbe495f0395d8cb9/images/closeup/750-345AX_detail1.jpg)
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Figured I'd use this thread to ask questions instead of starting up a new one. For those following along...I have purchased a Tascam DR-60D, so this will relate to that. I want to record a local musician tomorrow night and she sent me a picture of her SBD, posted below:
(https://i.imgur.com/9x3oGxB.jpg)
The circled ports are the ones she uses for her equipment. So, based on that, I am assuming I would use the 2 far right 1/4" outputs? She told me she uses the board for her mic, and plugs in her guitar into one of those portable standup speakers. I believe the speaker is plugged in to the board, but not 100% sure. If it is, if I use those 2 outputs, will it pick up the vocals and guitar from that, or would I need to use channel 3/4 on the Tascam to plug in to the speaker separately? Sorry I can't be more specific, last time I saw her I hadn't even thought about recording off her SBD, so I will know more tomorrow, but I'm hoping to be as prepared as I can until I can get a better look.
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She circled the line Out(s) to send the signal to her amplifier, so you can use the Main Out(s) to go to your recorder.
Note that each has its own separate level control which will make it easy to get levels independently on your recorder, totally apart from her controlling her own speaker system.
Something which might potentially result in a cleaner recording; any control which is not used for some input signal may be turned all the way down. This might prevent needless noise from coming through.
Reading the manual here, it seems you can also record USB direct to a computer, with this as the interface.
https://drive.google.com/file/d/1SU7ztlrR2FKpiIMOXyzO9LzWBWRyxnCy/view (https://drive.google.com/file/d/1SU7ztlrR2FKpiIMOXyzO9LzWBWRyxnCy/view)
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She circled the line Out(s) to send the signal to her amplifier, so you can use the Main Out(s) to go to your recorder.
Note that each has its own separate level control which will make it easy to get levels independently on your recorder, totally apart from her controlling her own speaker system.
Something which might potentially result in a cleaner recording; any control which is not used for some input signal may be turned all the way down. This might prevent needless noise from coming through.
Reading the manual here, it seems you can also record USB direct to a computer, with this as the interface.
https://drive.google.com/file/d/1SU7ztlrR2FKpiIMOXyzO9LzWBWRyxnCy/view (https://drive.google.com/file/d/1SU7ztlrR2FKpiIMOXyzO9LzWBWRyxnCy/view)
Definitely helpful! I recorded the first set and went to listen in between sets and it was nothing but dead air. Thankfully I checked this thread at that point to see if anyone responded and it dawned on me that the "Main Out" volume may be turned off. Turns out it was, she turned it up for the 2nd set and it came through perfectly. Of course, it was just her vocals and the drum box which had a mic plugged in to the SBD as well. So, obviously I need to plug in to the speaker next time to pick up the guitar. Here is the back of the speaker:
(https://i.imgur.com/IGTDsYe.jpg)
So I am assuming I could use the 3/4 channel on the Tascam, which is a 3.5mm connection. It would set up like this: "3.5mm dual splitter connected to two 3.5mm to XLR cables connected to the speaker". According to an earlier post in this thread (https://taperssection.com/index.php?topic=201936.msg2393365#msg2393365), using the 3/4 channel may require attenuation, but that was in regards to a mic. Would this also apply to an instrument, and if so, what level would be adequate for the Tascam DR-60D?
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No option for getting a signal from that speaker, those are just inputs. So you can get her vocals and drum box from the mixer, but the only way you can get the guitar is with a mic put in front of that speaker. From her diagram with 3 inputs of the mixer circled it seemed she was plugging her vocal mic and guitar into the mixer (new info about the drum box) and that was what going to her speaker, but no. Confused as to where the signal from mixer goes then, off to some other PA system?
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No option for getting a signal from that speaker, those are just inputs. So you can get her vocals and drum box from the mixer, but the only way you can get the guitar is with a mic put in front of that speaker. From her diagram with 3 inputs of the mixer circled it seemed she was plugging her vocal mic and guitar into the mixer (new info about the drum box) and that was what going to her speaker, but no. Confused as to where the signal from mixer goes then, off to some other PA system?
Well, that sucks, I was afraid of that. I'm not sure where that signal would go to be honest, the only speaker that in use is the one I posted (MAUI 5 (https://www.ld-systems.com/en/series/maui-series/4216/maui-5)), there is no other PA system. I'll have to ask her next time I see her, but I would guess to get it to work how I want she would have to change the way she sets up, and I don't want her to have to do that just for my sake.
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According to the link posted by Dan, the MUAI 5 also has its own mixer (one mic input, one hi-z input and one line-in jack). It looks like your friend sends the vocals and the drum box to her mixer and from her mixer to the MUAI 5. And she also sends the guitar straight to the MUAI5.
The MUAI 5 has no output and the speakers look complicated. It probably won't be easy to record it with a mic. Does she pick up the guitar with a microphone?
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Here was her response when I asked her how she had the guitar set up:
"My guitar goes to the guitar input on top there! and then I have a 3/4 cable that runs from the output jack on the board to that mic input there on top! If that makes sense."
So, based on that, I'm guessing her current setup won't allow me to get the guitar other than through an audience recording. In an ideal world, wouldn't she able to plug her guitar into one of those empty ports on the SBD and have everything run through that? Not sure what her reasoning is to having it set up like she does, but I'm sure there is a reason.
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Here was her response when I asked her how she had the guitar set up:
"My guitar goes to the guitar input on top there! and then I have a 3/4 cable that runs from the output jack on the board to that mic input there on top! If that makes sense."
So, based on that, I'm guessing her current setup won't allow me to get the guitar other than through an audience recording. In an ideal world, wouldn't she able to plug her guitar into one of those empty ports on the SBD and have everything run through that? Not sure what her reasoning is to having it set up like she does, but I'm sure there is a reason.
Because the Maui 5 has a high impedance "instrument" input that maybe she prefers? Plugging a guitar directly into a mixer ideally uses a high impedance port which is different from a mic input or a line input. The Flamma mixer does have an option to plug the guitar into channel 2 with use of the "instrument" button. But in the red circled picture that channel is indicated as in use. If channel 1 is for her vocal mic and channel 4 is for her drum machine, what is channel 2 used for?
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We are already starting to put it together. :
Flemma - Input 1: mic vocal
Flemma - Input 2: mic drum box
Flemma - Line out R: goes to MUAI5
Flemma - Input 3/4: I don't know why she put a red circle here
MUAI - Input HiZ: guitar
MUAI - Input mic: output of Flemma
Jefflester, can she connect a guitar to Flemma input 3? Input 3/4 has instructions below. If it is possible, then Dan just plugs the guitar into the Flemma instead MUAI, set the levels and the problem is solved.
Input 3 & Input 4: Dual-channel stereo 6.35mm TS input jack or line signal for connecting instruments (keyboard,synthesizer). For stereo setup, please connnect both Input 3 and Input 4. For mono setup, please connect Input 3 only.
Edit: I looked in detail in the manual. It looks like that Input 3/4 is not for guitar hi impedance signal. You would need to use a di box (or e.g. old edirol UA5) to convert it to line level.
"My guitar goes to the guitar input on top there! and then I have a 3/4 cable that runs from the output jack on the board to that mic input there on top! If that makes sense."
A small suggestion for improvement, if others approve. Flemma is connected to MUAI via mic input. It would be better if she connect it via mp3 input (line level).
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I wasn't sure what "drum box" meant and Dan did say that was a mic. I was thinking electronic drum machine so it would be a line level signal and go to channel 3 or 4. But maybe it is a cajon or foot stomp box with an actual mic that does need to go to channel 2. The Maui box seems kinda odd having the XLR line inputs down on the sub like that rather than on the top face where the other inputs but I guess there is not quite enough room. The upper left knob is "line" so presumably that adjusts the level of those XLR line-ins which would be the most appropriate place to send the Flamma mixer output rather than the mic input or the mp3 input. As for use of channel 3/4 for the guitar, it could probably work, but less than ideal. The guitar transducer/pickup (preamp?) would prefer to see a high impedance at the mixer/amp.
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I wasn't sure what "drum box" meant and Dan did say that was a mic. I was thinking electronic drum machine so it would be a line level signal and go to channel 3 or 4. But maybe it is a cajon or foot stomp box with an actual mic that does need to go to channel 2. The Maui box seems kinda odd having the XLR line inputs down on the sub like that rather than on the top face where the other inputs but I guess there is not quite enough room. The upper left knob is "line" so presumably that adjusts the level of those XLR line-ins which would be the most appropriate place to send the Flamma mixer output rather than the mic input or the mp3 input. As for use of channel 3/4 for the guitar, it could probably work, but less than ideal. The guitar transducer/pickup (preamp?) would prefer to see a high impedance at the mixer/amp.
Sorry, should have been more clear. It's a cajón, like below:
(https://cdn11.bigcommerce.com/s-1b7bc/images/stencil/1280x1280/products/246/839/S-Series_DoubleShot_Cajon__61747.1655578506.jpg)
So there is no mic or connection to the actual box, but there is a external mic that sits in that hole to pick up the sound, which is then connected to the SBD (if that makes sense). Basically just to amplify the cajón (aka drum box). I reached out to her to let know I've pretty much exhausted all options with her current setup, and if she changes it up in the future to let me know and I can take another look. She said that's in the cards at some point, but for now I was actually able to get a pretty decent matrix, better than I was expecting to be honest. Thanks for the help everyone who responded, it has helped get the best I can out of what is available, even if it wasn't exactly what I was hoping for.
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Jeff, thanks, you are right. I forgot XLR line. XLR line input is the best to connect Flemma.
Dan, you can buy a di box in future. It costs 30 euros, you can find it in every guitar shop. Then you will be able to connect guitar to Flemma.
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Jeff, thanks, you are right. I forgot XLR line. XLR line input is the best to connect Flemma.
Dan, you can buy a di box in future. It costs 30 euros, you can find it in every guitar shop. Then you will be able to connect guitar to Flemma.
Just to be clear, this is an artist I am recording, not myself, so I have no control over what she's using. I will pass that along to her though, hopefully it will help my effort as well.