using a non-phantom powered mixer

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goinpostal

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I've got a mixer that's going to be given to me-a Peavey MD-12. Seeing as how it doesn't have phantom power for mics what type of mic preamp do I need to get: one with 8 XLRs or ??? How would I hook it up? I've got a Tascam DA88 that I'll be using to record. The first order of business will be my daughter's high school marching band which will be performing some very difficult orchestral pieces in April. The number of mics and which types (most of what I own is condenser) I haven't decided on yet as there may be band AND chorus performing together for some of the music pieces.
So help me out guys! :confused:
 
I don't know that Peavey mixer but assume it's not just a line mixer. It should already have mic a mic preamp on each channel; all it sounds like you need is as many channels of 48v phantom power as you have 48v mics to power at the same time (you don't say how many that is, four maybe?), all you need is a stand-alone phantom power supply. They will be XLR in and out as this is what phantom powered mics use. Look for Peavey PS4, Audio-Technica CP8506, a couple Samson S-Phantoms would do the job for cheap too. AKG used to make a stout 6 channel unit; they pop up on the used market sometimes. If you spot one, just make sure it's in good working order and not too tired.

Pretty much any decent quality supply will do the job and with few frills (a ground lift at best)...get one with XLR ins and outs and make sure it supplies a full 48v to each mic; some cheaper supplies and particularly the 48v supplies built into smaller, cheaper mixers sometimes can actually supply as low as only 12 or 18v and while most condensers can run on the lower voltages, others are particular about getting the full 48v and many that will run on the lower voltages will still be happier with 48v. I bring this up because you don't say what condensers you have--so buyer beware :)

Your chain for this would be: microphone output ---XLR cable----> phantom power supply channel input, then phantom power supply channel output ---another XLR cable----> mixer's mic input


As for how to approach the marching band/chorus, approach them as a whole. Where you're recording will dictate your approach some (a gym vs. auditorium vs. high school band room with cinderblock walls vs. outside vs. etc will all have their own unique sets of pluses and problems), but less can be more in most scenarios and especially in less than favorable conditions and especially for the less experienced recordist with limited equipment resources; you could get away with as little as a stereo pair on the band and stereo pair or even single mono mic on the chorus especially if it's getting mixed in with the band, and spot mic as necessary, say if there's a flute solo right in the middle of a full band passage ;) or for a vocal solo in the chorus.
 
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briank said:
I don't know that Peavey mixer but assume it's not just a line mixer. It should already have mic a mic preamp on each channel; all it sounds like you need is as many channels of 48v phantom power as you have 48v mics to power at the same time (you don't say how many that is, four maybe?), all you need is a stand-alone phantom power supply. ..
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I don't know the mixer either ..so treading lightly again here.. He still needs eight separate outs to the recorder too..?
 
mixsit said:
I don't know the mixer either ..so treading lightly again here.. He still needs eight separate outs to the recorder too..?
Click to expand...

OP didn't bring up that end of the chain, only how to phantom power condenser mics when the mixer doesn't have it built in ;)

Googling around, it appears that the MD-12 is an older, general purpose 12-channel mixer (12x2x1). Each channel has mic and line ins and looks like inserts as well as a couple auxes, so the OP already has 12 mic preamps to work with there as well as several output/summing options but indeed would require external 48v to power the condensers.
 
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The band and chorus are going to be performing together for some of the performances. The concert is going to be held in a church the band has been using for two years. The sanctuary seats about 2000 with the balcony having three sections (left,center,and right) with ten rows in each section. So the sanctuary is huge and the ceiling is up there.
The mics I have are two Behringer C2s (go ahead and laugh),a Sennheiser e614,Shure PG57,SM57,and an SM58.
For the info I've read about the Peavey mixer is it has no pres for the mics. I haven't seen it yet so I don't know. Hence my question about a preamp for the mics.
It's been over thirty years since I've been around or used any studio equipment so this old dog is having to relearn some things.
 
OK, let's back up a little and figure out the facts of the original poster's needs:

First, I downloaded the manual for the Peavey MD series mixers off the Peavey website. Click here to get it: Download peavey md manual.pdf from Sendspace.com - send big files the easy way

I highly recommend you read through it to help understand your tools and plan your recording.

As you can see, there are 12 channels and all of them have mic pres with XLR connection. Each channel also has unbalanced 1/4" line in jacks, and inserts which are labeled "out/in" on this mixer. On each channel you also have a 3-band EQ, and two auxes: one called "MON" (or "monitor") which is a pre-fader, pre-EQ auxiliary send, and another called "EFF" (or "effects") which is a post-EQ auxiliary send. Finally, there are the ubiquitous pan and channel fader controls and that's your channel input section. Fortunately, you do not "need" an external preamp as this would be redundant, and all you will need to power those Behringer C2s and the Sennheiser at the same time is 3 channels worth of 48v phantom power from a standalone unit as explained in my post above; I would suggest getting either a 4-channel phantom supply such as the Peavey PS4 (if they still make them!) or two of those 2-channel Samson S-Phantoms at 49 bucks a pop.

When recording the band and chorus simultaneously, without knowing more about your situation, they way I'd probably approach it is to use the C2s as a stereo pair on the band, the Sennheiser mono on the chorus, and use the SM57/58 for spot mics for soloists as necessary. Fortunately, in a venue of that size it doesn't sound like you have to worry over acoustic problems like wall reflections and should have plenty of latitude in your mic placements.

I hope this clears up your original questions-
 
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