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Gear / Technical Help => Ask The Tapers => Topic started by: Elguapo511 on September 26, 2017, 04:52:04 PM
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I see music in a club that uses a soundcraft epm8 and they let me plug in and twist knobs if I want to record.
The Soundcraft epm8 has a phantom power button, but I how do I identify what channel the phantom power goes to?
The board has 8 channels and one phantom power button, but no pp assign knob,
My goal is to set up an Omni mic with the phantom power, then record the board mix right and left from the board.
I have a four track tascam dr-2d.
Here is the link to the board Manual if anyone can help.
https://3e7777c294b9bcaa5486-bc95634e606bab3d0a267a5a7901c44d.ssl.cf2.rackcdn.com/product_documents/documents/2097_1422397691/EFXEPM-UG-20101130_original.pdf (https://3e7777c294b9bcaa5486-bc95634e606bab3d0a267a5a7901c44d.ssl.cf2.rackcdn.com/product_documents/documents/2097_1422397691/EFXEPM-UG-20101130_original.pdf)
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Most small mixers like that one have a single phantom power switch and applies P48 to all the mic inputs. Just make sure that there are no ribbon mics or other gear attached that could be damaged. Most dynamic mics and DI boxes ignore phantom power but check everything that is connected o the board just in case. Use the RCA outputs. They will be more compatible with the input of your deck.
If you want to record the Omni mic on a separate track just assign it to the AUX and take the output from there (assuming the monitor feeds aren't using up the available AUX sends)
if you use an Omni mic and send it to the mains you may be setting yourself up for a giant feedback disaster.
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Great thanks,
Correction,,, I have two uni directional condenser mics.
How about this????
I am going to run the cable under the floor and set the large diaphram uni mic up in front of the stage =
Octavia m-319. Send that to the aux output = channel 1
Then set the small diaphram condenser up at the rear of the club = Nady cm-90 .
Send that to the effects output = channel 2
Then get the right left board feed = channel 3 and 4.
Any thoughts?
My tascam has 4 channels.
Also, what if I put the second uni above the drums, Instead of the back of the club?
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If you only have four channels and want to get a stereo board feed, I would say your best bet is to get a stereo room capture somewhere with your pair of cards (even if their unmatched.) I'm not sure I can see much of a n advantage of putting one on stage and one in the back of the club. Better to get a stereo picture of the room, whether it's from the stage or the house.
I would agree that your best bet is probably to use the RCA record out on the board and do RCA > 1/8 in TRS for the line in on the recorder.
edit: the 2D doesn't have XLR inputs, does it? So if you want to do 4 channels it has to be the line/mic in + the internal mics on the deck, right?
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The tascam 2d records line in (L and R) and Mic in (L and R) all at the same time. All 1/8 in inputs.
My two condenser mics are not matched, on is a large diaphram and one is a small diaphram.
Should I really put them both at front stage? It's a small club, If I put one above the drums I'll get them pretty solid,
But yes a stereo image from the from is always nice, just nervous about them being different mics.
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Setup whatever mics you have available (well matched or not) as a pair placed at the front of the stage or hung above the stage. Its a small club and you'll need that to get a good representation of the sources which are not well represented or even present at all in the PA output from the soundboard. That includes pretty much anything which is especially loud onstage- guitar amps especially, possibly drums and cymbals (not kick drum), maybe bass, etc.
A mix of the mic pair with the soundboard feed should be able to get all on stage sources represented evenly and clearly, including vocals. That balance and clarity is more important than nice-to-have additional stuff such as mic'd room-sound and audience-reaction. You'll probably get plenty of those things in your mic source anyway, probably with an appropriate balance if the mics are located at the front of or above the stage.
For the mis-matched mic pair, I suggest either a wide near-spaced stereo mic configuration or a parallel A-B spaced stereo microphone configuration - spaced say 3' to 6' apart. In all likelihood everything routed through the soundboard will be mixed to mono in the PA, and all that stuff will image dead center in your direct soundboard recording, so err towards over-wide rather than over-narrow in the microphone configuration to generate sufficient stereo width and interest. A parallel A-B setup is likely to help mitigate the mic-mismatch more than a near-spaced or coincident stereo configuration, and works well in combination with the mono soundboard. If placing them overhead, don't go too low over the drum kit, the idea is to get a good representation of all the sources as heard on stage rather than overly highlighting the cymbals and drums.
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^ I would say AB is the best option for the reasons stated above. Opens up your center position for the board feed which will most likely be mostly vocals anyway