is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

Why do I ask? I have been asked to do this for a studio and whilst reading
the Behringer user manual for one of their patchbays it states that mic
signals should not be connected to the patchbay - only line signals. I've
not heard of this and wondered if this method is acceptable.

Many thanks in advance

bingo wrote:
is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

If the patchbay uses jacks and you are feeding phantom power to the
mics, plugging and unplugging the jacks can have unpleasant results.

You can get XLR patchbays for mics, to overcome that problem.

--
Anahata
-+- http://www.treewind.co.uk
Home: 01638 720444 Mob: 07976 263827

bingo wrote:
is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

People do it. I think it's a bad idea, but people do it.

Why do I ask? I have been asked to do this for a studio and whilst reading
the Behringer user manual for one of their patchbays it states that mic
signals should not be connected to the patchbay - only line signals. I've
not heard of this and wondered if this method is acceptable.

If you have to do it, for God's sake don't use some crappy Behringer panel.
Use a real longframe panel or a Bantam, and make sure the customer has the
cleaning tools and keeps the panel SCRUPULOUSLY clean. If you are using
Switchcraft panels, get the optional shielding stuff because you'll need it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

bingo wrote:

is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

Why do I ask? I have been asked to do this for a studio and whilst reading
the Behringer user manual for one of their patchbays it states that mic
signals should not be connected to the patchbay - only line signals. I've
not heard of this and wondered if this method is acceptable.

Well, I wouldn't do it. It'll work, but you will get extra noise and
crosstalk in the mic signals. Maybe the interference will be
acceptable, or maybe nobody will notice it until it's too late. Plus,
you really don't want to run phantom through a patchbay.

Try to talk them out of it.

//Walt

bingo wrote On 02/14/06 11:28,:
is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

Why do I ask? I have been asked to do this for a studio and whilst reading
the Behringer user manual for one of their patchbays it states that mic
signals should not be connected to the patchbay - only line signals. I've
not heard of this and wondered if this method is acceptable.

Many thanks in advance



Remember, for mic signals, the shortest path to the tape (or whatever media) is the best path.

Mic -- Mic Pre/Console -- Recorder

A patch bay of lesser quality will introduce so much unwanted stuff it's not worth the trouble. And
you'll be happier for it during mix down.

--Fletch

"Walt" wrote ...
bingo wrote:
is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

Why do I ask? I have been asked to do this for a studio and whilst
reading the Behringer user manual for one of their patchbays it states
that mic signals should not be connected to the patchbay - only line
signals. I've not heard of this and wondered if this method is
acceptable.

Well, I wouldn't do it. It'll work, but you will get extra noise and
crosstalk in the mic signals. Maybe the interference will be acceptable,
or maybe nobody will notice it until it's too late. Plus, you really
don't want to run phantom through a patchbay.

Agree. After having tried it for over a year in a live venue.
We managed a year only by tedious and scrupulous weekly
cleaning the connectors.

You might be able to get away with it with good quality (expensive)
GOLD PLATED plugs & jacks. But with any other material, the
combination of the very low level signals, the high-voltage phantom
power, and any kind of flakiness in the contacts made horrendous
noise in the mic line if you even brushed against the patchcords
with the back of your hand. And sometimes spontaneously,
apparently "just for fun". :-(

OTOH, we did NOT notice any particular crosstalk problems as
all the signals were mic-level.

bingo wrote:
is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

Why do I ask? I have been asked to do this for a studio and whilst reading
the Behringer user manual for one of their patchbays it states that mic
signals should not be connected to the patchbay - only line signals. I've
not heard of this and wondered if this method is acceptable.

Many thanks in advance

Several replies have said "DON"T RUN YOUR MIC LINES TO A CRAPPY
Behringer PATCH BAY!!

That's great advice you should listen to it.

Mic lines to a patch bay are common, they are usually run Full Normal -
Both Outs and ins are break points for the normalling ( Signal to Tip
and Ring - Ring Norma Row l A to Ring Normal Row B , Tip Normal A to
Tip Normal B )

You'll do well to find an ADC , or some sort of broadcast style
patchbay ( Switchcraft, ADC, AVP ) and solder star quad cable right to
the jacks. Twist and Tin the ends of the Star quad, Use shrink tube
over each solder point on the jacks.

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bingo wrote:
is it acceptable to have balanced mic signals from a studio
stagebox to appear on a patchbay in a recording studio prior to
connection to the balanced mic inputs on a mixer?
If the patchbay uses jacks and you are feeding phantom power to the
mics, plugging and unplugging the jacks can have unpleasant results.
You can get XLR patchbays for mics, to overcome that problem.
Get enough xlr patchbay to do what you need. get the right
tool, and advise your clients that this is the way they
should go.
LEss chances of unfortunate accidents this way.




Richard WEbb,
Electric SPider Productions
Replace anything before the @ symbol with elspider for real
email address.



Great audio is never heard by the average person, but bad
audio is heard by everyone.

bingo wrote:
is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

90+% of the pro studios I have worked in have had mic lines going into
the patchbay. I have heard many people on this newsgroup, and other
bulletin boards, say you shouldn't do it because the world will come to
an end. Yet, I have never encountered a problem with mic lines (with
phantom) running through the patchbay. Maybe this isn't a good a idea
with the Behringer bays, I wouldn't know, I haven't used Behringer patch
bays.

You can't tell me that SSL, Neve, Trident, and a slew of other console
manufacturer's would send their consoles out, stock, with the bays
designed to have the mic lines in them.

--
Eric

Practice Your Mixing Skills
Download Our Multi-Track Masters
www.Raw-Tracks.com
www.Mad-Host.com

Many thanks for everyones advice. I'm going to try it but my gut feeling is
that once i've tried it and heard the unpleasant results I will revert back
to NOT placing mic signals on the patch bay.

However, if you have many mic feeds coming in to a control room from various
studios how do the big boys studios cope with the fact that you may need to
cross patch different mic signals into the desk. Is the answer really XLR
patchbays (I have never come across them - my background is live sound not
recording) or is there another approved method?

I've spoken to the resident engineer about this and he says that if he wants
to do a quick overdub he doesn't want to have to get out of the control room
and walk into any of the studios to patch the mic into another channel. He
wants to be able to do it from within the control room. For some reason he
doesn't want to use the inserts for this - rather saving the inserts for
effects units etc

I do not want to do a bodge job - I want it to be industry standard as the
studios will be used for training (albeit on a very limited budget) and I do
not want students getting off on the wrong track.

Again, many thanks for all of your replies and advice.


"bingo" wrote in message
...
is it acceptable to have balanced mic signals from a studio stagebox to
appear on a patchbay in a recording studio prior to connection to the
balanced mic inputs on a mixer?

Why do I ask? I have been asked to do this for a studio and whilst reading
the Behringer user manual for one of their patchbays it states that mic
signals should not be connected to the patchbay - only line signals. I've
not heard of this and wondered if this method is acceptable.

Many thanks in advance

Bingo wrote:
However, if you have many mic feeds coming in to a control room from various
studios how do the big boys studios cope with the fact that you may need to
cross patch different mic signals into the desk.

The big boys usually have the mic signals coming in from the studio
going through the console's TT or Long-Frame patch bay. Not XLR.

For some reason he
doesn't want to use the inserts for this - rather saving the inserts for
effects units etc

The inserts don't have anything to do with mic assignments.


--
Eric

Practice Your Mixing Skills
Download Our Multi-Track Masters
www.Raw-Tracks.com
www.Mad-Host.com

In article , Eric wrote:

You can't tell me that SSL, Neve, Trident, and a slew of other console
manufacturer's would send their consoles out, stock, with the bays
designed to have the mic lines in them.

And those SSLs, Neves, and Tridents are the ones that we've all had
patching nightmares on.

You can do it, and lots of people do, but you need to be careful and
you need good maintenance. And even then there will be occasional
problems.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Scott Dorsey wrote:

And those SSLs, Neves, and Tridents are the ones that we've all had
patching nightmares on.

Scott, what kind of problems have you experienced? Are those problems
related specifically to the fact that it is mic signal vs. a line level
signal running through that patchbay? I may have overstated when I said
I have never had problems with a mic signal in a patchbay. Sure, I've
had a dirty connection. But, I've had the same problems with a line
level signal too.

EricK wrote:
Scott Dorsey wrote:

And those SSLs, Neves, and Tridents are the ones that we've all had
patching nightmares on.

Scott, what kind of problems have you experienced? Are those problems
related specifically to the fact that it is mic signal vs. a line level
signal running through that patchbay? I may have overstated when I said
I have never had problems with a mic signal in a patchbay. Sure, I've
had a dirty connection. But, I've had the same problems with a line
level signal too.

I've had a lot of trouble with dirty connection and flaky stuff with
mike connections than line level connections. I've had a bunch of
times when I've had to stop, root around in the drawer for the burnishing
tool, squirt a little Electrolube or Cramolin in there, and waste my
time fiddling around with connectors when I could be working. Sometimes
it's noise, sometimes it's just a little rectification issue that just
doesn't sound quite right.

The days when the interns went over the patchbay with the burnishing
tool every week are gone.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Is the answer really XLR
patchbays

It's one answer, & it's the answer I personally prefer. Those who've
pointed out the mic lines implemented on TT bays in SSL, Neve & Trident
desks also should point out that there is a very reasonable assumption
that equipment of this level will be operated by experienced pros.

(I have never come across them - my background is live sound not
recording) or is there another approved method?

XLR patchbays exist in live sound too, for all the same reasons
mentioned by others.

I want it to be industry standard as the
studios will be used for training (albeit on a very limited budget) and I do
not want students getting off on the wrong track.

One of the primary reasons for avoiding a TT or 1/4" bay with mic lines
is the possibility of hotpatching a signal carrying phantom power,
whilst the channel is open & monitors up, or musicians on phones. A pro
knows to avoid this, but a facility used by inexperienced students
needs to protect itself against this sort of thing.
What's the argument against using an XLR patchbay for mic level
signals?

Scott Fraser

Scott Fraser wrote:
What's the argument against using an XLR patchbay for mic level
signals?

It takes up a lot of rack space. I can get dozens of mike channels
into the same space with Bantams that I can with XLRs.

The Bantams will eventually be a pain, though.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Scott Fraser wrote:

One of the primary reasons for avoiding a TT or 1/4" bay with mic lines
is the possibility of hotpatching a signal carrying phantom power,
whilst the channel is open & monitors up, or musicians on phones. A pro
knows to avoid this, but a facility used by inexperienced students
needs to protect itself against this sort of thing.

You can make the same mistake and the same amount of noise with an XLR
patchbay. What you won't do with an XLR patchbay, however, at least not
quite as easily, is accidentally patch a phantom-powered jack to an
output that doesn't like to be powered.

The advantage of using a bantam or 1/2" long frame patchbay over one
with standard headphone jacks is that the tip is a smaller diameter
than the other plug contacts, so (if you're careful) it won't contact
the sleeve or ring of the jack on its way home. A long frame
plug-and-jack (and all Bantams are constructed this way) is designed so
that the sleeve mates first, and the tip and ring mate at the same
time. So at least you don't "unblance" the phantom power when
hot-plugging. It's less prone to generating harmful spikes on the
preamp input, though most preamp manufacturers have figured out that
careless people will do that anyway and include clamping diodes in
their design. But it will still make a heck of a pop.,

What's the argument against using an XLR patchbay for mic level
signals?

Space, primariy, and the fact that there aren't any normalled XLR
connectors unless Neutrik has come up with something when I wasn't
looking. So you absoulutely have to patch everything.

What's the argument against using an XLR patchbay for mic level
signals?
It takes up a lot of rack space. I can get dozens of mike channels
into the same space with Bantams that I can with XLRs.

OK, but the guy seems to be building a more or less pro facility, which
tells me it won't be as cramped as an OB van, so why not make use of
the available space? I have my XLR patchbay on the front wall of the
control room, where the snakes come in from the tracking rooms, so no
space is taken away from other more demanding rack locations.

The Bantams will eventually be a pain, though.

Yeah, not to mention that the point of electrical contact is
infintesimally small, relative to the contactt area of an XLR.

An additional note for those who do run mic level through TT or 1/4"
bays: Your plugs really need to be the same material as your jacks, IOW
if you have brass jacks in the bay, you need brass patchcords. Nickel
steel has the advantage of not corroding, brass has slightly better
electrical transfer characteristics but corrodes very quickly. I've
seen silver-plated plugs, but not jacks.

Scott Fraser

Scott Fraser wrote:
An additional note for those who do run mic level through TT or 1/4"
bays: Your plugs really need to be the same material as your jacks, IOW
if you have brass jacks in the bay, you need brass patchcords. Nickel
steel has the advantage of not corroding, brass has slightly better
electrical transfer characteristics but corrodes very quickly. I've
seen silver-plated plugs, but not jacks.

Switchcraft and Lucent both do good silver-plated jacks. They require
a lot less attention and constant cleaning than the brass ones, but they
wear out a lot faster and they cost a lot more.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

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Mike Rivers wrote:
What's the argument against using an XLR patchbay for mic level
signals?
Space, primariy, and the fact that there aren't any normalled XLR
connectors unless Neutrik has come up with something when I wasn't
looking. So you absoulutely have to patch everything.
NOT much of an argument against. SO you gotta make some
jumpers. Your mic patch panel can be mounted in the live
room, in a hallway, depending on your studio's layout lots
of options for this.
I posted earlier in this thread that if you're doing this
for a place where you don't do maintenance avoid using the
Behringer bay, long frame or bantam would be my choices as
well as other posters. STill I think I"d stay with xlr bays
for mic lines etc. iF this facility is used by students or
a hobbyist less chance of stupid patching tricks.

IT's been said that nothing is foolproof because fools are
too ingenious. HOwever I configure every system, whether it
be a ham radio station sound system or control room to
stupid proof the system. IF you're contracting the work
with this place and it isn't where you work regularly I'd
push for using an xlr panel.
tHe only arguments stated against using same are minor
compared to waht the inexperienced person can screw up.



Richard WEbb,
Electric SPider Productions
Replace anything before the @ symbol with elspider for real
email address.

One of the primary reasons for avoiding a TT or 1/4" bay with mic
lines
is the possibility of hotpatching a signal carrying phantom power,
whilst the channel is open & monitors up, or musicians on phones. A pro
knows to avoid this, but a facility used by inexperienced students
needs to protect itself against this sort of thing.
You can make the same mistake and the same amount of noise with an XLR
patchbay.

On an XLR, the tip (with 48volts on it) is never going to ground
momentarily on the way into the jack, so I think an XLR hotpatch
carrying phantom is going to blow fewer monitors & headphones overall.

Scott Fraser

Scott Fraser wrote:

On an XLR, the tip (with 48volts on it) is never going to ground
momentarily on the way into the jack, so I think an XLR hotpatch
carrying phantom is going to blow fewer monitors & headphones overall.

First, there's no tip on an XLR, but I know what you mean.

Second, momentarily grounding the tip of the powered end of a cable
carrying phantom power shouldn't blow any monitors or headphones (or
the ears within earshot of them) unless the phantom supply is poorly
designed or the channel is turned up. Maybe a little crackle - how do I
know? I just tried it, lest I lead anyone astray - but nothing
dangerous. So, yes, if you make two mistakes you can make some noise.
But like Pavlov's dog, you'll soon learn not to do that. It's a good
think in the grand scheme, I think. (learning, that is).

The purpose of a patchby is to make re-connecting things easier. If you
can't have normals, that somewhat defeats the purpose. You might as
well eliminate the patchbay and just connect things the way you want
them. After all, few of us leave our mics connected all the time, so
you always have the opportunity when setting up the session to put them
where you want them.

I'll grant that a patchbay makes listening to a mic with various
preamps a little easier, but not all of us do this enough to make a
permanent extra set of connections and added expense just to make this
one exercise easier. But individuals can justify whatever they do and
it doesn't always matter to others.

First, there's no tip on an XLR, but I know what you mean.

Precisely my point. Because there's no tip, the hot is never going to
hit ground when fumbling about making a connection.

Second, momentarily grounding the tip of the powered end of a cable
carrying phantom power shouldn't blow any monitors or headphones (or
the ears within earshot of them) unless the phantom supply is poorly
designed or the channel is turned up.

Channel turned up is the speculative situation here. Remember this
question is about a teaching facility, thus students who don't always
have the consequences of their actions in mind, nor enough experience
to think a signal chain through clearly all the time.

Maybe a little crackle - how do I
know? I just tried it, lest I lead anyone astray - but nothing
dangerous. So, yes, if you make two mistakes you can make some noise.
But like Pavlov's dog, you'll soon learn not to do that. It's a good
think in the grand scheme, I think. (learning, that is).

I've done & heard this plenty of times in a PA when the other end of
the patchcord leads to 10,000 watts of system & the stage guys didn't
know what the FOH guys were doing or vice versa. It's not just a little
crackle.

The purpose of a patchby is to make re-connecting things easier. If
you
can't have normals, that somewhat defeats the purpose.

I have 3 tracking rooms coming into my control room. There's just no
such thing as a normal setup here.

You might as
well eliminate the patchbay and just connect things the way you want
them.

You mean crawl around behind the preamp rack? Nah, my XLR patchbay
works just fine & saves time & energy.

After all, few of us leave our mics connected all the time, so
you always have the opportunity when setting up the session to put them

where you want them.

Each room's mic panel directly accessing each of the mic pres? Could
work, could also lead to inadvertant double patching. But why? And much
harder to account for future growth in the number of mic pres.

SF

Scott Fraser wrote:
First, there's no tip on an XLR, but I know what you mean.

Precisely my point. Because there's no tip, the hot is never going to
hit ground when fumbling about making a connection.

Also, note that XLR connectors are designed so that pin 1 makes contact
first. There is always a solid ground before the signal pins mate.

Which is the exact opposite of the RCA....
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Scott Fraser wrote:

Channel turned up is the speculative situation here. Remember this
question is about a teaching facility, thus students who don't always
have the consequences of their actions in mind, nor enough experience
to think a signal chain through clearly all the time.

I guess I didn't know that. I saw a couple of posts that mentioned
students, but didn''t notice that one was from the original poster.
Well, they probably won't encounter an XLR patchbay in the real world
unless they build it, so they might as well learn how to put plugs into
jacks without making rude noises. Or at least make the noises when
there's nobody around to hear.

I've done & heard this plenty of times in a PA when the other end of
the patchcord leads to 10,000 watts of system & the stage guys didn't
know what the FOH guys were doing or vice versa. It's not just a little
crackle.

I've heard those noises from other things. There usually aren't mic
patchbays on PA systems, though, so I figure it's something else.

I have 3 tracking rooms coming into my control room. There's just no
such thing as a normal setup here.

You're the exception, and exceptions are OK. I would guess that a mic
patchbay was part of your design rather than an "I'm thining about
putting in a ....."

Scott Dorsey wrote:

Also, note that XLR connectors are designed so that pin 1 makes contact
first. There is always a solid ground before the signal pins mate.

A long frame plug is also designed so that the sleeve is the first to
make contact, but you can't be shaky when putting in the plug because
it IS possible to touch the tip to ground.

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On 2006-02-17 said:
On the other hand, at my day job we have four studios feeding one
control room, plus bulkheads in half a dozen other places around the
building. They're spread across six floors, so repatching at the
source is only practical if/when there's an assistant available.
There aren't enough inputs on the console to hardwire them all, and
even if there were, you really want to control the physical
positions of various inputs in a live broadcast situation. So, for
THAT facility, running mic inputs through the patchbay is a
practical necessity. I suppose we could have used XLR bays, but we
already have sixteen linear rack feet of patchbays... can you
imagine how much more space XLRs would have required? Besides,
it's more convenient to use the same patch cables for everything.

True enough, but you also provide for proper maintenance of
equipment. Also you have control or somebody else with
experience and doesn't have the channel up while patching.
It's like many things, the pro can do many things with tools
when necessary that the average guy is arned not to. tHe
pro knows the risk he or she takes, can compensate or
minimize by the procedures they use.

From my understanding of the situation the OP is working
with a facility that will be used by inexperienced folks.
THerefore I'd suggest he fool proof the installation.
THis means xlr bays imho g.


Richard WEbb,
Electric SPider Productions
Replace anything before the @ symbol with elspider for real
email address.



Braille: support true literacy for the blind.

"Mike Rivers" wrote:

[...] individuals can justify whatever they do and it doesn't always
matter to others.



Also, facility-specific requirements obviously enter into the equation.

In my own overdub room, the breakout box in the studio is just hardwired
directly to the mic inputs on the mixer. There's only one place to
connect mics, so there isn't really much reason to run them through the
patchbay. If I decide I really want a mic on channel 4 instead of 3, I
can walk into the room right next to the control room and replug it.

On the other hand, at my day job we have four studios feeding one
control room, plus bulkheads in half a dozen other places around the
building. They're spread across six floors, so repatching at the source
is only practical if/when there's an assistant available. There aren't
enough inputs on the console to hardwire them all, and even if there
were, you really want to control the physical positions of various
inputs in a live broadcast situation. So, for THAT facility, running
mic inputs through the patchbay is a practical necessity. I suppose we
could have used XLR bays, but we already have sixteen linear rack feet
of patchbays... can you imagine how much more space XLRs would have
required? Besides, it's more convenient to use the same patch cables
for everything.

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

Lorin David Schultz wrote:
at my day job we have four studios feeding one
control room, plus bulkheads in half a dozen other places around the
building. They're spread across six floors, so repatching at the source
is only practical if/when there's an assistant available.

So, for THAT facility, running
mic inputs through the patchbay is a practical necessity. I suppose we
could have used XLR bays, but we already have sixteen linear rack feet
of patchbays... can you imagine how much more space XLRs would have
required?

One of my points, exactly.

Besides, it's more convenient to use the same patch cables
for everything.

Using different cables is one means of idiot proofing, so you don't
patch the output of the 10.000 watt studio PA amplifier into a ribbon
mic connected somewhere in the building, but given that you have people
doing the patching who are supposed to know what they're doing, it's a
fair risk to use all of the same type of cables.

A long frame plug is also designed so that the sleeve is the first to

make contact, but you can't be shaky when putting in the plug because
it IS possible to touch the tip to ground.

Hopefully the students in question have the eyesight & steady hands no
longer available to many of us who know better than to hotpatch phantom
powered mic signals with the monitors up.

SF

You're the exception,

Hey! I resemble that remark!

and exceptions are OK. I would guess that a mic
patchbay was part of your design rather than an "I'm thinking about
putting in a ....."

Yeah, but it was the result of about half a decade of unfinished wiring
while I figured out the best solution for the situation.

Scott Fraser

"WillStG" wrote:

When you finally get to having an all digital
facility/console/routing system, you're gonna have to get used to
having them video cables and a video style patchbay crowding up the
rack space. And of necccessity lots of outboard A/D - D/A and
digital mult 1x4 units. Makes tracing patches *lots* of fun.



Way ahead of you. This plant was the first "all digital" station in
Canada, and was all digi from Day One. Only the audio room is analog,
and that was a conscious choice, for exactly the reason you cite --
patching is easier and more intuitive with analog. Thus we have a bunch
of D-A's coming into the room, and a bunch of A-D's on the way out. The
router carries SDI, but we use the AES audio instead of embedded because
it lets us do splits; picture from one source and audio from another.

Obviously there are also analog tie lines throughout, to simplify things
like comm and such.

Like I said on my previous post, putting mic lines on longframe was a
practical necessity, for the reasons noted earlier.

There's no reason audio *has* to be difficult in a digital plant, but
most facilities make it that way. I credit our Engineering department
with creating a hybrid system that gives us the best of both worlds.

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

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