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Gear / Technical Help => Post-Processing, Computer / Streaming / Internet Devices & Related Activity => Topic started by: checht on December 04, 2005, 08:10:11 PM
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I'm putting together a rig for live 16 track recording. I'm trying to pick between the MOTU Traveller, 828 and 896, using number of mic pre's as the main criteria. While I'll always want a couple of preamps for an ambient pair, I've thought about using the Traveller or 828 and running most of my inputs from the FOH console channel inserts.
If I assemble a system to record mic ins, I'll need to run isolation transormers off the stage feeds, then route signal into mic pre's on the 896. I'd love to avoid dragging the transformers and extra cables.
I'm wondering whether it's reasonable to rely on being able to grab signal at the send half of an insert loop. This strategy would leave me at the mercy of whatever quality mic pre's are in the console.
I'm fine building any cables I need to, including ones that would retain insert loop functionality for the board.
So, rely on the FOH console, or go the independent route?
Thanks
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One downside of the Traveller is that to get to 16 inputs you will have to add an 8 channel ADAT interface to get the 8-24/48 channels via lightpipe. There are several out there, all AC powered. If you find a DC powered device to do this let me know.
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I'm putting together a rig for live 16 track recording. I'm trying to pick between the MOTU Traveller, 828 and 896, using number of mic pre's as the main criteria. While I'll always want a couple of preamps for an ambient pair, I've thought about using the Traveller or 828 and running most of my inputs from the FOH console channel inserts.
If I assemble a system to record mic ins, I'll need to run isolation transormers off the stage feeds, then route signal into mic pre's on the 896. I'd love to avoid dragging the transformers and extra cables.
I'm wondering whether it's reasonable to rely on being able to grab signal at the send half of an insert loop. This strategy would leave me at the mercy of whatever quality mic pre's are in the console.
I'm fine building any cables I need to, including ones that would retain insert loop functionality for the board.
So, rely on the FOH console, or go the independent route?
Thanks
I don't know too many FOH engineers who will let you half click inserts on their boards. Most FOH consoles have direct outputs though, but not all of them. For the situations where you don't have directs, inserts are your only option though.
If you're even remotely serious (no pun intended) about multitracking, you probably need a snake or two. Isolation transformers are not necessarily required; a passive split will work just as well 99% of the time as long as your phantom is sourced from a single place (the FOH console, most likely).
I personally have 2 TRS/TRS 8 channel snakes and 2 TRS/XLR 8 channel snakes for direct outputs, plus a passive 40 channel split snake (which I rarely need) when there are no direct outs on the FOH console or a built in split in the house.
Dirk
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Also a thing to consider, Lots of monitor consoles (and I have ridden many of them) have directs as well. If you know the venue/crew there is always a possibility of that. I for one would never let anyone use the inserts at a show I was doing FOH for. There are too many things that could go wrong. One other possibility is that some house have a 3 way split at the snake head (one for monitors, one for FOH and one for recording). If you came prepared you might be able to use that as well.
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Thanks for the thoughtful replies. A couple more details about my situation. I will only be using this rig when recording at the band's request. Out here in Hawaii, there aren't many shows, but when they happen, they're often unusual, and with an Aloha vibe. There is a total lack of location recording services, and as production manager, I'm frequently asked to try and find something. The quotes I get are ridiculous. Enough so that one or two shows could cover my interface costs.
As for inserts, I was thinking I could build cables that short the send to the return, and not have to half-click. The FOH engineer is gonna be working for me, so if I ask him to do it, I imagine he will.
Good idea on the monitor outs, hadn't thought of that one. I guess I'm really gonna need to do "all of the above", so I can be ready for any situation. Time to heat up the iron.....
Chris
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You should probably think about getting some splits. Or at least check out what the local venues have. Maybe they have the splits already. One reason is that you can control your own levels, this can be key. You don't want to be telling the FOH to turn down the snare drum in because your getting a hot signal. Alot of FOH clip the preamps regularly at shows. More importantly though is the fact that alot of FOH guys use the inserts for effects, not always but certainly frequntely enough that you might be butting heads. You don't want to be butting heads with production crews. Expessially if you might be working with them frequently. Your best bet it to split. Good luck.