[Frank Stearns]

adam79 writes:

On 10/2/12 9:57 AM, Frank Stearns wrote:
adam79 writes:

Reality; sorry. With drums in a good room, the room tone would likely be great to
have. But with lower ceilings or nearby surfaces you'll get more "smear" than
bigness and depth.


I'm still gonna be renting both 414s, so I'll atleast give the MS setup
a try and see what happens.

Good.

low-output dynamics. High output condensors can clip the hell out of the front ends,
even with the trim pot all the way down.)


I'm pretty sure there aren't any pads on the D16. It's a first
generation digital recorder, so it doesn't even have a USB connection.
It also doesn't have phantom power, so I'm gonna have to run the mics
through my Mackie VLZ-PRO mixer, which has the low-cut filter. What type
of pads would you recommend I use? The D16 has 24bit recording, but I
think you can only use up to 6 tracks, so I'll probably have to do the
recording in 16bit.

I'm sure the 414s have pad switches right on the mic; probably -15, maybe -10. If
you're doing drums with them, you'll most likely want to engage those on-mic pads
UNLESS you suddenly seem starved for level at the Mackie (highly unlikely).

And I haven't used that mixer -- does it have switchable input pads for the
microphones? You could use them as an alternative.

Also be aware that some Mackie mic pres had a reputation for a slightly different
tone color at different positions of the trim pot. Not sure if that's the case with
this model, but it's something to keep in mind.

Next thing is to get the channel signals out to the recorder. Typically channel
direct outs (if it has them) are post fader. Usually not good for recording. Next
best are the insert points, which are almost universally pre-fader but might be post
EQ, also not good. But you might have to live with it and bypass the EQs if possible
(certainly set the EQs flat) unless the inserts are configured internally (or can be
switched) to pre EQ.

Now, some folks use the "half-way" insert of a TRS plug to get to the signal, but
that's just so bogus (and risky). Far better to make up your own cables. On the TRS
plug, solder a jumper between the T and R connections; run the other end out to the
line in of the recorder. Doing it like that, you can firmly seat the plug in the
mixer insert jack as it's supposed to be, and still have signal flow through the
rest of the channel. Also, in this configuration, doesn't matter whether the tip or
ring is the gozouta - you're just tapping the flow.

But another poster noted the 4 channel simultaneous record limit of the Korg. If so,
yikes!!! You might find yourself doing a "live to four track" with the instruments
lived mixed to two channels, and maybe any live vocals or instrumental solos on the
other two channels.

I hope that's not the case, but if so you'll get a taste of what recording was like
in the olden days when four track was the standard.

Have fun with it,
Frank
Mobile Audio

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