Topic: Onstage questions...

[One Cylinder]

One thing I always tried to do when working with Kimock was run the board feed through the snake and record from the stage. This way the stage mics don't have to run through the snake. I would plug them direct into the recorder.

Just curious as to why?

>>>>>> in theory - the more direct the path is between your mics and your recorder = less likely to degrade the signal.

[Gutbucket]

One thing I always tried to do when working with Kimock was run the board feed through the snake and record from the stage. This way the stage mics don't have to run through the snake. I would plug them direct into the recorder.

Just curious as to why?

Single cylinder answered while I was typing.  More detail-

One example- Someone in another thread recently asked about running unbalanced Church Audio mics onstage and through the snake back to his preamp and recorder located at the board.  I suggested that wouldn't work, that with appropriate adapters he could probably keep the preamp on stage with the mics since the output of the preamp would be better able to drive the run back to the recorder at the board, but by far the best solution would be to run the SBD patch from the board to the stage and keep the entire rig near the mics, limiting the length of the unbalanced run.

In Charlie's case, even though both are balanced and the mic bodies should be capable of driving that length of run, he may choose to do it that way primarily because the soundboard is line-level, where as the mic feed is mic-level.  So that makes for less potential interference issues, less possibility of compromising the sonics of the mic feed with a less than great quality long snake run, and the line level SBD output is driven by an output circuit designed for driving long runs.

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In Charlie's case, even though both are balanced and the mic bodies should be capable of driving that length of run, he may choose to do it that way primarily because the soundboard is line-level, where as the mic feed is mic-level.  So that makes for less potential interference issues, less possibility of compromising the sonics of the mic feed with a less than great quality long snake run, and the line level SBD output is driven by an output circuit designed for driving long runs.

It could also be something physical; e.g. the area on stage or behind the stage is more secure than the sbd area during times when the band isn't playing.

[fleish]

One thing I always tried to do when working with Kimock was run the board feed through the snake and record from the stage. This way the stage mics don't have to run through the snake. I would plug them direct into the recorder.

Just curious as to why?

Single cylinder answered while I was typing.  More detail-

One example- Someone in another thread recently asked about running unbalanced Church Audio mics onstage and through the snake back to his preamp and recorder located at the board.  I suggested that wouldn't work, that with appropriate adapters he could probably keep the preamp on stage with the mics since the output of the preamp would be better able to drive the run back to the recorder at the board, but by far the best solution would be to run the SBD patch from the board to the stage and keep the entire rig near the mics, limiting the length of the unbalanced run.

In Charlie's case, even though both are balanced and the mic bodies should be capable of driving that length of run, he may choose to do it that way primarily because the soundboard is line-level, where as the mic feed is mic-level.  So that makes for less potential interference issues, less possibility of compromising the sonics of the mic feed with a less than great quality long snake run, and the line level SBD output is driven by an output circuit designed for driving long runs.

Makes sense and pretty much what I was expecting. I suppose given the choice I'd go that route too. For me it wasn't really an option unless I wanted to run my own cables from the stage to my bag. Which I considered while I was waiting for the engineer to give me the go ahead to use the snake. Had my cables out and everything.

[Charlie Miller]

One thing I always tried to do when working with Kimock was run the board feed through the snake and record from the stage. This way the stage mics don't have to run through the snake. I would plug them direct into the recorder.

Just curious as to why?

>>>>>> in theory - the more direct the path is between your mics and your recorder = less likely to degrade the signal.

Bingo!!!