The number of cables is the same. The only difference is the location of the box.Whoops said:
Line level to mic live box with isolator, which better way?
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moamps
Well-known member
abbey road d enfer said:
Definitely,
You got it know?
The location is the key
I just don't get it. What difference does it make if the box is near the interface or near the stage box?Whoops said:
abbey road d enfer said:
The biggest diference is that the box is not close to the FOH mixer like you first suggested.
It's better to stay on stage, and I explained in my point of view and experience why.
Then being it on stage let's see the difference of it being close to the stage box or the interface:
close to the Stage Box , disadvantages:
- Longer cable runs
- you have to put the box near the Stage Box (normally in the stage service area, or the side of the stage), it means also you will put the box close to the local PA equipment, can be easy or dificult depending on how much gear they have there. Somo companies will not like it and will prefer you don't put the box near an area (stage box) that needs to be easilly acessible for them. It can also be an area on stage where a lof of activity is going on doing setup
Closer to the Interface:
- prefered choice, as the box is still considered part of the bands backline so it is on the right spot. And when the local crew will perform the micing setup they will just plug to XLR cables from that box to their smaller sub-boxes, for them they are receiving the bands input signals in the place they are used to, no hassle for them so no hassle for you
- Also closer to the interface you will have pretty short cables from the interface to the box (or shorter cable in case you use multicore) so it's a more tidy setup and faster setup for the band also and less cable weight to travel with
It's a Win-Win situation
Going from one place to another, total cable run is bound to be the same. .Whoops said:
No, you put it close to the stage box(es).
Is it a serious issue? You think there is a territorial war between the stage crew and the band?
What difference does it make if they get 8 XLR cables 10 meter long or 8 short XLR cables coming from a small box?
But you will have longer cables from the interface to the stage box. The overall cable length is bound to be the same.
But you you put the interface close to the stage box, you can have an 8-pair multicore, which will be lighter an dtidyer than 8 long mic cables.
iampoor1
Well-known member
Gold said:
Because, thats too easy! ;D
Gold said:
You can,
but you will want to give an XLR connection and not Jack TRS
Also you will want phantom power protection in case 48V is on by accident in the Monitor or FOH console so that the 48V DC will not damage your RME line outputs,
a transformer , or DC blocking caps will prevent that. DI boxes prevent that also.
The RME outputs Opamps might have phantom power protection, but I really not sure, I would preffer to have external protection
abbey road d enfer said:
Longer cable runs for the band, TRS to XLR. (from RME outputs to box inputs)
Shorter cables for the band are easier to setup , easier to transport.
No, you put it close to the stage box(es).
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Is it a serious issue? You think there is a territorial war between the stage crew and the band?
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Sometimes there is. A lot of times local crew was travelling all night long and setup early in the morning, they had few hours of sleep, are really tired.
If you make their life easier you are making your life easier
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What difference does it make if they get 8 XLR cables 10 meter long or 8 short XLR cables coming from a small box?
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The diference is that they will preffer to connect in on stage using their sub boxes, instead of having input channels that are off stage on the service areas
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But you will have longer cables from the interface to the stage box. The overall cable length is bound to be the same.
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And thats fine, you just wasnt that your cables (bands cables) are shorter and easier to setup and take less space in the backline.
For the PA company is the same as they will bring a truck full of stuff and hardcases full of XLR cables.
I saying from the point of view of the band artist and what he has to carry for the gig
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But you you put the interface close to the stage box, you can have an 8-pair multicore, which will be lighter an dtidyer than 8 long mic cables.
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You don't need to carry XLR cables, those are already there.
But you have to carry the cables to connect the RME's output to the DIY Box, and those will have at least TRS on the RME outputs, even if a multicore cable is used.
PA companies tend not to have any JACK TS cables, and also are prone not to have TRS cables besides what it's needed for fixed instalation (like inside the racks)
moamps
Well-known member
From my short experience as FOH engineer, in this situation the best and safest solution IMO is using passive transformer based DI boxes which should be placed close to the interface. There are good reasons for that.
The job of the band is to provide the rider list with the number of (microphone) channels needed and positions of each musician on the stage. The job of the stage crew is to provide all cables to each position. There should be a high level of discipline (that's not the war but problems can escalate if something goes wrong during the show) especially in a festival situations.
The job of the band is to provide the rider list with the number of (microphone) channels needed and positions of each musician on the stage. The job of the stage crew is to provide all cables to each position. There should be a high level of discipline (that's not the war but problems can escalate if something goes wrong during the show) especially in a festival situations.
moamps said:
Yes,
you have FOH experience, you got it!
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