Analog-digital integrated setups?

fat_fleet

fat_fleet

Swollen Member
Hi there. I have a Tascam M-2524 mixer which is coupled with a TSR-8 1/2" deck. Up to now, I've been tracking in Reaper using an audio interface (MOTU 8pre).

Switching from the Tascam to the MOTU and back requires plugging and unplugging a whole buncha XLRs. I would like to keep them both set up at all times, but this would require either going into the board and running direct outs into the MOTU, or the other way around. Neither the MOTU nor the Tascam appear to have a direct out.. Is there a way to do this I'm not thinking of?

This also seems like it could be a viable option:
2 m 6 ft foot XLR FEMALE to dual MALE Y SPLITTER mic microphone cable auido cord 817375013425 | eBay
Are there any drawbacks to using a splitter like this? Reduced sound quality, etc? Thanks in advance.
 
I don't think you want to just physically split (Y-cable) microphone output because it has to be affected by the different impedances that will be combined electrically. If it's just microphones, then a rack mic splitter is going to be a safer bet. I used the Behringer 8x unit for a couple years and they are a good value.
 
I would go with a patchbay, rather than Y-cables...you could normal one setup, and only use some patch cables at the bay when you want to go to the other setup....plus, you would probably have room on the patchbay for some other gear, making it quite useful as the main hardware routing location for all gear.
 
Hmm.. yeah I've seen those around.. Really cool looking, and I have no idea how to use them or what they do, but I agree I definitely need one.
 
fat_fleet said:
Hmm.. yeah I've seen those around.. Really cool looking, and I have no idea how to use them or what they do, but I agree I definitely need one.
Click to expand...

Patch bays can do different things. At their simplest they just extend the connections on the back of your equipment to the front of your rack so you can access them conveniently.

But you can configure them to do other things. If you connect your mixer's inserts to the rear of the patch bay, you can set it up so it returns the signal without having to plug a patch cable in. That's normally done inside the insert jack, but connecting the patch bay means it needs to perform that function. It's called normaling. The patch bay keeps the send and return connected until you patch something into the return jack.

You can also use the patch bay as a big splitter. On one setup I use, the console inserts go to one patch bay, the multitrack feed is on a second one and all the compressors are on a third. I can patch from a console insert send to a compressor, then through the multitrack splitter and back to the return of the insert. Or I can patch the compressor after the multitrack feed. So I'm driving my multitrack sends through the inserts (since I do the real mixing of recorded tracks in the DAW). But you can also use a patch bay to feed both multitracks from your channel tape sends, probably by connecting the console tape sends to the first 8 channels of the patch bay, using 9-16 as a splitter, then patching from 1-9, 2-10 etc.
 
bouldersoundguy said:
Patch bays can do different things. At their simplest they just extend the connections on the back of your equipment to the front of your rack so you can access them conveniently.

But you can configure them to do other things. If you connect your mixer's inserts to the rear of the patch bay, you can set it up so it returns the signal without having to plug a patch cable in. That's normally done inside the insert jack, but connecting the patch bay means it needs to perform that function. It's called normaling. The patch bay keeps the send and return connected until you patch something into the return jack.

You can also use the patch bay as a big splitter. On one setup I use, the console inserts go to one patch bay, the multitrack feed is on a second one and all the compressors are on a third. I can patch from a console insert send to a compressor, then through the multitrack splitter and back to the return of the insert. Or I can patch the compressor after the multitrack feed. So I'm driving my multitrack sends through the inserts (since I do the real mixing of recorded tracks in the DAW). But you can also use a patch bay to feed both multitracks from your channel tape sends, probably by connecting the console tape sends to the first 8 channels of the patch bay, using 9-16 as a splitter, then patching from 1-9, 2-10 etc.
Click to expand...

So is phantom power the only consideration when deciding between 1/4" and XLR?
 
fat_fleet said:
So is phantom power the only consideration when deciding between 1/4" and XLR?
Click to expand...

When deciding what between 1/4" and XLR...?

Typical gear patchbays come in 1/4" and TT/Bantam...which is like a mini-1/4", usually what's found in pro studios because you get more points/patchbay.

AFA phantom power...if you include the inputs of your preamps on the bays...you have to take some care so that when using phantom power, it doesn't mess with other things and you are potentially shorting the power when inserting patch cables IF the power I on...so you want to turn off...then patch...then turn it on..etc.

My simple solution has been to keep my mic preamp inputs on a separate XLR bay that I put together for that purpose...but the outputs of the preamps and any line inputs/outputs on the preamp, all go to the other 1/4" or TT/Bantam bays with the other gear...which keeps things simpler, IMO, and then I don't need conversion cables that go from XLR to 1/4" or TT/Bantam for plugging in mics.
I also keep my XLR bay in the same rack as my outboard preamps...on side of my console...and I keep the other bays on the other side. It just keeps things neat and straightforward.

Of course...that's not saying you can't have preamp inputs or use phantom power on your typical bays...it's just something to do with caution...and if it matters, the AES has papers describing why you should not use phantom power on typical TRS bays.
 
fat_fleet said:
So is phantom power the only consideration when deciding between 1/4" and XLR?
Click to expand...

I don't put microphones through the patch bay. It's all line level. The microphones go into the mic preamps of the console then the inserts are connected to the patch bay.
 
bouldersoundguy said:
I don't put microphones through the patch bay. It's all line level. The microphones go into the mic preamps of the console then the inserts are connected to the patch bay.
Click to expand...

I think the question was more to do with standalone pres...should their mic inputs be on the same patch bay as everything else...or on a dedicated XLR mic input bay.
 
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