thermally coupled electrolytis

[RoadrunnerOZ]

Mics by definition, are local to the studio. Lines could be very long as you say, but potentially even longer. Back in those days, you might bring in signals via analog (balanced) line from other buildings on campus or... the very worst-case, a 15kHz telco pair which might be a mile or more.

In a lot of outdoor live scenarios there are also massively long mic and line runs and you also have splits off the mic runs for a foldback desk, talkback line runs for FOH to foldback as well.

 

[AngryAudio]

In a lot of outdoor live scenarios there are also massively long mic and line runs and you also have splits off the mic runs for a foldback desk, talkback line runs for FOH to foldback as well.

Yes, true. But these were broadcast boards, specifically radio broadcast boards. So though technically possible to have a long mic run, I never saw one in that application. Mics were either in the control room or the adjacent studio. But we did put the copper shield on mic input capacitors also. Couldn't hurt, right?

 

[user 133392]

Mics by definition, are local to the studio. Lines could be very long as you say, but potentially even longer. Back in those days, you might bring in signals via analog (balanced) line from other buildings on campus or... the very worst-case, a 15kHz telco pair which might be a mile or more.

I've spent more time than I care to remember wiring and staring at 66 blocks and, on Fridays, cross-connecting remote feeds on EQ'd lines being broadcast from bars and headshops. Those dry pairs could be tens of miles long and we used them when we couldn't get a RPU shot with the Marti. So I definitely know where you were coming from.

In broadcast I never wired a mic line longer than to the board op or guest table. Can't recall ever wiring one to a tieline.

 

[RoadrunnerOZ]

Yes, true. But these were broadcast boards, specifically radio broadcast boards. So though technically possible to have a long mic run, I never saw one in that application. Mics were either in the control room or the adjacent studio. But we did put the copper shield on mic input capacitors also. Couldn't hurt, right?

I think the shield makes sense in any scenario when in a broadcast environment. I spent a lot of time in in OB vans well away from a live gig with long multicores running to a live console for broadcast or to 24TK tape machines via a streaming desk for live recording. Or both. I’m not sure what consoles they used back then - I was more involved with setup and on-site tech, but there was little to zero interference with these long runs.
I remember doing live repairs on an SSL (72Ch IIRC) during a Pink Floyd concert in 1988 hot swapping channel cards onto extenders and fixing them before and while the show was running. Blown caps and dead chips failed during sound check. They had a massive PA and you could literally “hear” the silence at show start, then the sound of oars in a rowing boat, drips of water from the oars, the visuals on a massive screen, then the music - most impressive show.