Overload indicators (Sonosax / SBM-1)

[Brian Skalinder]

Perhaps this is the kind of device Brian was refering to...

As I indicated in my follow-up post, I was referring to passive adapters.

I think there is a "right" way to do this and not just some hack, or "whatever" works...

Ideally, of course we want to feed a device that accepts a +4dBu signal.  But not all of us have gear that accepts a +4 signal.

Arent you inviting more noise by just turning it down...?

If the options are:  [1] brickwall, or [2] ask the sound engineer to lower the output (assuming this does introduce noise - which I'm not convinced it does) and suffer a bit of noise in the recording ($5 says no one here would hear it if it even exists), then [2] obviously makes more sense.

Only real solution - use a device that can handle a pro-output...

Given the context of the discussion - devices that accept a -10dBu signal (SBM-1 / UA5, from your suggestion of running (UA5 analog-out > SBM-1) - yes, the solution I proposed is the only real-world, practical solution to ensure brickwalling does not occur.

[Brian Skalinder]

the main reason of using the sax was that I only had a 1/8" > 2RCAs cable while the soundboard only had xlr outs...and the sax is a very nice preamp IMO so I just use it every time I can

And, turns out it's the right decision to prevent brickwalling the SBM-1 by feeding it the board signal directly:  the Sax XLR inputs accept a +6dBu (max +20dBu) signal.

[hexyjones]

Edit: note sorry I switched SAX with UA5 - getting my threads confused...

[hexyjones]

From the Sonosax manual:

9. GAIN SELECTOR

The gain switch has three positions. The center position ensures the 0dB gain (unity gain). In this case, the output level is equal to the input level. This could be of help when the SX-M2 is used as an impedance adapter, or a balanced line driver. The "LO" gain position allows 6dB to 40dB gain, and the "HI" gain position, 20dB to 76dB.

You did it exactly right...IMO

[Brian Skalinder]

Edit: note sorry I switched SAX with UA5 - getting my threads confused...

Doh!  lol  I should've caught it, too.

[dgale]

I often have run Sbd>SBM-1 with some XLR>RCA cables - you lose the balanced signal (which you do anyway when you run pre>SBM-1) but I've never had a problem with brickwalling with the SBM-1 and a XLR Sbd feed, while I definitely have trying to run the same feed straight into a Sony portable DAT.  I always used the rule of thumb that if the SBM-1 had levels set to less then 4 then I would turn down the feed at the Sbd.  I resolved all of this by lugging along my R500 to shows - I can run XLR straight into it, use SBM, and have a lot more confidence in that deck then I do in a sony portable.  Of course it is a pain to lug that thing around but it's never failed me.  I learned that trick from Bob Daniels (Hot Tuna), who has a rollaway with a R500 and a R300 in it.  That amount of gear is probably not going to go over well unless you are in good with the venue and/or band but it is definitely bullet-proof.  Of course once I got a taste of Sbd>AD2K+ @24/48>laptop, the 16bit DAT became a never-listened to back-up anyway.

Anyway, intersting discussion - I have an MP-2 and have never considered using it for anything but driving my KM140s.