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Gear / Technical Help => Ask The Tapers => Topic started by: backwhereubelong on April 29, 2015, 11:16:01 PM
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I expect to get lambasted for asking this (being such a noobie to soundboard patches), but I'll ask anyways ...
I have received permission to record open (and have been offered a soundboard patch as well) and I am not sure what cables I might need / should take with me. I've been taping stealth (and doing some occassional "open taping") for 25+ years but I have never patched from a soundboard before and I don't want to F' this up ... Any advice? Thanks in advance. I'll be taking a Sony PCM-M10 and a Tascam DR-22D with me.
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You need to know what the sbd outputs are. Most likely they are XLR or 1/4", but could be RCA. So you will need a pair of XLR> 1/8" single or a 1/4" dual>1/8" single or RCA dual > 1/8" single. There are a number of adapters that can be used to make the SBD work with the cables you have already I would assume.
Find out what the outs are at the venue beforehand and you'll save yourself the heartache of wishing you had the right cables come showtime.
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Most soundboards will have a pair of rca outs. I would take a 1/8 stereo cable to pair of rca male ends. Would also have pair of rca to 1/4 phone adapters.
I saw a thread here on what others typically carry.
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The easiest and cheapest way to be ready for this is with:
1 rca (male) > 1/8 stereo (to plug into your deck)
2 1/4" (male) to rca adapters
2 xlr (female) to rca adapters
This way, you are ready to take any rca, 1/4", or xlr outputs. Some people advise adding a pair of attenuators, but I have never needed them.
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The easiest and cheapest way to be ready for this is with:
1 rca (male) > 1/8 stereo (to plug into your deck)
2 1/4" (male) to rca adapters
2 xlr (female) to rca adapters
This way, you are ready to take any rca, 1/4", or xlr outputs. Some people advise adding a pair of attenuators, but I have never needed them.
^ This... I'd never needed attenuators but recently took a feed that turned out to be baked despite my having the levels down to where they looked good on my recorder. Hopefully you can check with the soundperson before the show (when it is quiet) and make sure they're sending you something that is properly recordable. At places that aren't attuned to frequently giving patches sometimes you don't get what you can use...
As it turned out I though the audience was better than the feed anyway even if it hadn't overloaded on the loud stuff though.
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^^ This is exactly what I have done when recording soundboards for the past 11 years. I don't have experience with needing or using attenuators either. I'm sure they do come in handy though.
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Most soundboards will have a pair of rca outs.
Should be under the Taper Myths thread. Sorry, but these days, RCA out is kind of rare. XLR or TRS is way more commonplace.
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Most soundboards will have a pair of rca outs.
Should be under the Taper Myths thread. Sorry, but these days, RCA out is kind of rare. XLR or TRS is way more commonplace.
This. XLR 90% of the time in my experience
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The easiest and cheapest way to be ready for this is with:
1 rca (male) > 1/8 stereo (to plug into your deck)
2 1/4" (male) to rca adapters
2 xlr (female) to rca adapters
This way, you are ready to take any rca, 1/4", or xlr outputs. Some people advise adding a pair of attenuators, but I have never needed them.
dual RCA to clearify
http://taperssection.com/index.php?topic=34254.0 pics
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I still see 1/4" a lot and found out that 1/4" to xlr adapters will not work. Too tight of fit. I carry 2 1/4" to xlr cables and 2 xlr cables.
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I think the popularity of cheaper digital mixers could change things here soon.
The ubiquitous Behringer ones have loads of outs (including RCAs, iirc) but the smaller Yamaha ones (LS series I think) sometimes only have enough (assignable XLR) outputs to cover the main outs, subs and monitors, leaving you with nothing as there aren't any aux or tape-outs. Worse luck, the Yamahas only seem able to dump MP3 to a USB stick...
Splitters and a soundman accommodating/brave enough to let you split the main outs might be the only way to go in certain circumstances.
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I think the popularity of cheaper digital mixers could change things here soon.
The ubiquitous Behringer ones have loads of outs (including RCAs, iirc) but the smaller Yamaha ones (LS series I think) sometimes only have enough (assignable XLR) outputs to cover the main outs, subs and monitors, leaving you with nothing as there aren't any aux or tape-outs. Worse luck, the Yamahas only seem able to dump MP3 to a USB stick...
Splitters and a soundman accommodating/brave enough to let you split the main outs might be the only way to go in certain circumstances.
For sure - I think the only SBD out on the Behringer X32 is via AES (by default - unless someone has re-routed something else there.)
The soundguy would have to route his post fader L/R mix to an extra sets of outs - be they RCA or 1/4 or XLR.
I thought I had this working - but then my recording stopped (laptop) and it seemed like the X32 lost that routing.
I really need to get this working as we're satisfied with the results with simple SBD+AUD - and can't spend the time on re-mixing multi-tracks.
I'd rather not have to haul out my rack D>A converter if I can get a good analog feed from the board.
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I thought I had this working - but then my recording stopped (laptop) and it seemed like the X32 lost that routing.
I really need to get this working as we're satisfied with the results with simple SBD+AUD - and can't spend the time on re-mixing multi-tracks.
Something I've fallen foul of a couple of times is when the soundman sets up the "scene" on the digital mixer for the opening band to include routing a main mix to whichever outputs that I'm using - everything of course works fine until he loads up the scene for the headliner which hasn't had my outputs dialled in... This only becomes apparent during the opening moments of the set - when our needs are very much not a priority.
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I thought I had this working - but then my recording stopped (laptop) and it seemed like the X32 lost that routing.
I really need to get this working as we're satisfied with the results with simple SBD+AUD - and can't spend the time on re-mixing multi-tracks.
Something I've fallen foul of a couple of times is when the soundman sets up the "scene" on the digital mixer for the opening band to include routing a main mix to whichever outputs that I'm using - everything of course works fine until he loads up the scene for the headliner which hasn't had my outputs dialled in... This only becomes apparent during the opening moments of the set - when our needs are very much not a priority.
This is true, it can happen. But, experienced sound guys know to re-route your stage mics and SBD feed when they have to load a new file for the headliner vs. the opener. The only time I've had an issue with this is when the headliner has their own sound guy and he doesn't know you're taking the feed. A quick head's up usually fixes that unless for some reason you're not supposed to be getting the feed for them, then it's a different story.
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Basically bring cables for any possible out the sound engineer is able to get you. It can vary night to night even at the same venue. I've even had times where 1/8" miniplug was the only option.
Also very important here - The sound engineer isn't always set up to give someone a good recording. The only out might be a mono feed from a speaker.
If you are taking both the Sony and the Tascam, figure out which can take a hotter signal. I really don't know. But you should make sure that is the one with the board patch.
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the Belly Up here in San Diego went digital SBD a few months ago and the usual stereo XLR outs I normally used were no longer avail only an AES out....the solution was to route a seperate sub mix out for the XLR patch, which meant more work for the soundguys to get me set up. The Lettuce guy and the Belly Up house guy were very accommodating to say the least and now we know what to do next time. Definitely a different animal with the digital boards at least in my limited experience.
ON the other hand, some of the smaller clubs (i.e.bars) I record at only have RCA outs since they are running gear from the 80's lol.
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I was allowed per a band to patch a soundboard this past weekend. They also said to check with the venue. The venue said no. Sucked because the crowd was so noisy and obnoxious at times.
XLR's>RCA ( make sure of the termination or get barrels )>RCA>Mini.
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Did you sell the 22wl that you started this thread about?
http://taperssection.com/index.php?topic=172903.0