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mixsit
Well-known member
I tried to look up firestudio project firewire 400, can't tell what 400' or the 800' means, but if you have eight mic lines..? That's a 16 line snake (min.) to do it that way.
Chili
Site Moderator
Connector types and data throughput. 400Mbps or 800Mbps.
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Craig.reid
New member
so if bought something like this.... https://reverb.com/item/1418790-beh...xl-4-channel-headphone-distribution-amplifier
how would i hook that up in the control room, and also have my monitors working.
Just for reference i have a Firestudio project and am using logic with it.
how would i hook that up in the control room, and also have my monitors working.
Just for reference i have a Firestudio project and am using logic with it.
bouldersoundguy
Well-known member
That Behringer headphone thing is super handy, but it's also kind of cheap. I've used them quite a bit.
Simple setup: Connect the Main Out of the Presonus to the Main In of the Behringer and the Main Out of the Behringer to your monitors. This will give all four headphone outputs access to the control room mix by default. Turn the Balance control to Main (if the Aux inputs are connected, otherwise center the Balance) and the headphones get the same mix as the control room. I bet 99% of the time this is how you run headphones.
Versatile setup: Use standard insert cables (perhaps a four channel insert snake) to connect the eight general purpose line outputs to the four stereo aux inputs on the front of the Behringer. This will allow you to send custom mixes to each channel of the Behringer. For this set the Balance control to Aux. Use your DAW and Presonus' Universal Control software to create the custom mix.
You can have both simple and versatile setups connected at the same time. Just turn the Balance knob to make a channel get a default or custom mix. You can even do both at once, have one shared mix for everybody while adding "more me" to somebody's mix using the Aux input. Sometimes a singer just needs their voice boosted a little over the mix, not a whole custom mix of their own.
Normally it's a bad idea to run unbalanced for long distances, but headphone sends are generally pretty resistant to noise. So if you have a snake with four balanced returns (normally used for driving the PA amps) you can use them as four stereo headphone lines to the recording area, one for each output of the Behringer. A snake with TRS connectors would be most ideal for this.
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Craig.reid
New member
what would be the benefits of a more expensive headphone amp? and thank you so much for your resonse!!!!i have been trying to figure this out days now!
bouldersoundguy
Well-known member
Well, channels go out, the left/right balance gets weird and other stuff goes wrong on the Behringers. They just seem to start disintegrating after a few years. Then again some of these things have been around for many years so it's not too surprising they're starting to fail.
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Craig.reid
New member
What else would you recommend instead then in the 150-200 dollar range?
bouldersoundguy
Well-known member
Honestly I haven't used other headphone amps enough to recommend one.
gecko zzed
Grumpy Mod
I have both the HA4700 and the HA 8000. The ha4700 is a bit noisy, but I don't care. It does its job well. The HA8000 is very quiet on channels 1 to 6, but noisy on 7 & 8 (the two closest to the power supply . . . could be a design flaw). The 4700 has greater routing options than the HA8000.
Bobbsy
Boring Old Git
The Behringer headphone amps are fine. Don't forget they're not in the signal path you're recording so as long as you get an okay sound in your 'phones it's enough. I have a Behringer HA4700 and a smaller (but much more expensive) one I bought second hand. I'm hard pressed to hear any difference...and the choice of headphones makes a much bigger change to the monitored sound.
Although the conversation has moved on, I'll just chime in that 100' is nothing in cabling terms. If you think about the circuitous cable route that would exist from the far side of a large pro studio back to the control room, that's often well more than 100' by the time it goes up into the ceiling or round the cavity walls or whatever. In live sound, think of how far it is from a stage to the mix position in an arena or stadium...way more than 100' usually.
Although the conversation has moved on, I'll just chime in that 100' is nothing in cabling terms. If you think about the circuitous cable route that would exist from the far side of a large pro studio back to the control room, that's often well more than 100' by the time it goes up into the ceiling or round the cavity walls or whatever. In live sound, think of how far it is from a stage to the mix position in an arena or stadium...way more than 100' usually.