Boring But Important: Microphone Splitters

Generally a three-way output system with one direct feed and two feeds isolated by an industry standard Jensen transformer. This is what many people consider their favourite option for a concert sound multi-core system. Many hire companies make their own systems (an advanced DIY project) with multi-pin connectors on outputs for fast patching. Small units featuring two channels are available from a few manufacturers and are great in the studio to interface between valve and solid state or digital gear. There are multi input modular rack mount systems available from an assortment of manufacturers that make a neat package in a flight case.

PROS

• Very robust and flexible, no power required so no electronics involved (no noise floor issues).
• Avoids earth hums and absent minded patching issues!
• Some prefer the sound obtained.

CONS

• Expensive, heavy and does still degrade the sound a little as all passive splitters do.

BUYER’S GUIDE

Beldon, Whirlwind, Jensen, ARX systems, Wireworks.

The newest way of doing things. Each new digital mix system now comes with a standard or add-on stage box that has multiple digital outputs that feed each mixer or recording device. Some systems do all the processing in the stage box and the mixer is only really a remotely located control surface with a few local inputs and outputs. Sometimes the console may have a multi channel output connector (such as Firewire or light pipe), which makes a simple patch into your recording system. This is a great system and will be what most people will be using now and in the future at the big gigs.

PROS

• Cost effective as often comes as part of system package.
• Low cost network cable used.
• No sound degradation (after A/D conversion).

CONS

• Many digital formats are not shared amongst different manufacturers.
• Digital bridges for format conversion are expensive.
• Some questions over preamp and conversion quality vs straight analogue.
• Clock source and mains power issues can ruin a good day.

BUYER’S GUIDE

Midas Pro series using the DL 431 stage box, Digico, Digidesign Venue, Yamaha, Studer/Soundcraft, Allen & Heath, Roland.

Back to the beginning, and some would say, the good old-fashioned way. Tape an extra microphone or two to the existing ones. It worked well at Woodstock and still does today. It’s sometimes the only option available. And the look of 10 microphones in front of a presenter makes them look important too.

PROS

• Self service.
• The best sound quality.
• Unplug and go home whenever you like.

CONS

• Not the right look (some may say).
• Gets in the drummer’s way.
• Expensive buying multiples of good microphones.

Using a microphone splitter system to record a concert – without upsetting the other sound engineers. Plus, how to be nice to broadcast people.

1. Do some pre-production! Meet or speak with the artist management and sound engineers or venue sound engineer and do a site visit. Obtain an input list with phantom power requirements. Workout where to get your mains power supply from, and where to position your gear where it won’t get in the way.
2. On show day, set the system up early (just before or at the same time the other sound crew arrive). This is a great way to make everyone comfortable that you are a professional and won’t mess up their show.
3. Set the active splitter’s gain or pad switch to unity, earth-lift off, phantom power and filters off. Are the connector contacts clean?
4. Be on hand to assist with the patching, as the inputs will generally be going into your system first. Ask the stage manager to get the lighting guy to stop flashing the lights in your eyes while this is done. Assign phantom power as needed.
5. Be ready to check input levels in your recording system as the live crew do. You can eavesdrop on everyone with your audience microphones.
6. If you find any problems (buzzes, distortion, noise or bad lines) have a quick word with the head sound engineer.
7. Fine adjust the splitter’s gain to correct level (use the pad if necessary), somewhere below 0dB as the player then has that extra 25% they can use (they always play harder at the show).
8. Put your system into record and have a nice mix coming from your monitoring system and assess what you hear, that way the live sound engineers/management can have a quick listen to your rig if they want to check out the sound.
9. Don’t change the splitters input gain or phantom power settings without letting the sound crew in the room know before hand (so they can mute or adjust that input channel).
10. Are you going to be dealing with the broadcast feed to one or more cameras etc? Set this split up before the event starts (make sure it is electrically or transformer isolated), test it and be ready to go. Stick a piece of PVC tape with an arrow pointing at the allotted output connectors. Broadcast crews always turn up at the last minute and demand to be instantly patched in, sometimes after the event has started. They pass you a short mini jack then pester you to adjust the level or mix and inject a big earth hum into your speakers. If you have the slightest suspicion that they may turn up, this preparation will save much grief, you can just smile and point.