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Gear / Technical Help => Ask The Tapers => Topic started by: Albix on April 01, 2008, 11:58:34 PM
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Wondering if this set up is possible...
Can I run 421's > XLRM > V3 > XLRF/RCA > analog tape deck (and at the same time time) digi out > Hosa 276 > JB3 ?
Thanks in advance. ;D
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sure is. all of the digi outs and the XLR analog out work at the same time.
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Thanks! ;D
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Albix,
would love to hear some samples of the 421>v3.
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Wondering if this set up is possible...
Can I run 421's > XLRM > V3 > XLRF/RCA > analog tape deck (and at the same time time) digi out > Hosa 276 > JB3 ?
Thanks in advance. ;D
Just keep in mind that the analog out of the V3 runs about 10-15db hotter than the digi out(I forget "exactly" how much), so unless your analog deck can take a rather hot signal, or you have some attenuators, you'll want to keep your peaks just occasionally hitting the first set of amber lights on the V3's meter. Which also means your digi source will reflect those levels on the meter, and probably need a boost in post.
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I assume you mean Senn MD421s, and if so, also make sure you have phantom power off on the V3, or you will fry those mics! I used to love these mics in the early '80s for GD, and also the 441s. Good Luck!
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Wondering if this set up is possible...
Can I run 421's > XLRM > V3 > XLRF/RCA > analog tape deck (and at the same time time) digi out > Hosa 276 > JB3 ?
Thanks in advance. ;D
Just keep in mind that the analog out of the V3 runs about 10-15db hotter than the digi out(I forget "exactly" how much), so unless your analog deck can take a rather hot signal, or you have some attenuators, you'll want to keep your peaks just occasionally hitting the first set of amber lights on the V3's meter. Which also means your digi source will reflect those levels on the meter, and probably need a boost in post.
Thanks for the tips guys. Mark McCue and I are going to tape Phil in Denver next month. I thought it would be cool to grab an analog and a digital source.
I had a suggestion that a porta-mixer might make this a bit easier. Any opinions on that?
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well, technically, this statement "the analog out of the V3 runs about 10-15db hotter than the digi out" is not true.
when running a balanced line out, the max analog output (when the internal A/D hits 0dBfs) will be +25 dBu. If you are running into an unbalanced connection, the max analog output will be +19 dBu. It is true that a lot of gear can't take that hot of a signal, so its definitely a good idea to know the specs of the gear you run behind the V3. (for example, when running line-in on the 722, the 722 will hit 0dBfs with an analog signal of +20dBu. because the 722 has an adjustable line-in, you can set the 722 line-in to -5dB. At that setting, the 722 will hit 0dBfs at +25dBu, which is exactly what the V3 will be outputting when the V3's own internal A/D hits 0dBfs. because of that, the two recordings will have exactly the same recorded levels.) I know you said that you were running into a tape deck, but I thought the 722 was a good example to show that it largely depends on the gear you are using, and it is not a set rule that "the analog outs are about 10-15db hotter than the digi out".
the other thing to keep in mind is this. if the polarity of the digital outs has not been fixed, the digital output will be 180 degrees out of phase relative to the analog outs. If you're not planning on mixing any of the signals afterwards, it probably doesn't matter. and if the V3 digital out polarity has been fixed, then you're all set as well. Just one more thing to keep in mind.
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Thanks Jason,
All that being said, do you think a D5 can candle the output from my V3? I have the D5's specs, what would I look for?
If you can explain it, why would the digital output will be 180 degrees out of phase relative to the analog outs?
Appreciate the assist...
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All that being said, do you think a D5 can candle the output from my V3? I have the D5's specs, what would I look for?
offhand, I'm not sure about the D5. in the specs, look for the max input level. it should give you a number in dBu. If its a good deal less than +25dBu, you could also always use attenuators between the V3 and the D5 to lower the analog signal before it hits the D5 (which would allow you to maintain "ideal" digital levels on the V3).
If you can explain it, why would the digital output will be 180 degrees out of phase relative to the analog outs?
why? well, it was a mistake. because its almost impossible to hear the difference between absolute polarity (as long as the two channels are in phase relative to each other, which they always have been on the V3), the V3 slipped out the door befor they caught it. actually, the V3 had been out for years before it was brought to their attention that the digital outs were reverse polarity relative to the analog outs. Grace will fix it for free, if you haven't had it done it already. There's some info about it on their website.
edit to add:
also, if absolute phase is important to you (i.e. if its important that the digital recording be the same polarity as the ananlog outs), and you don't have time for Grace to fix it beforehand, you can always open up the digital recording in any wave editing program and "invert" the files. and that will flip the polarity of the signal and you'll be good to go. of course, it is easier to have Grace take care of the small issue and then you don't have to to think about it.
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Gotcha, thanks again for the explanation.