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Advice needed on 16 ch mixer for remote recordings?

Discussion in 'Pro Audio Equipment' started by stephen_kambeitz, Jun 6, 2002.

  1. I am going to take my business outside of the studio and record live shows. I need a mixer. 16 channel with direct outs on all 16ch. A talk back mic would be nice but I am sure doesnt usually come on such a small chassis. It would have to be rackmountable. Individual phantom would be agreat feature with some nice pres's. Any suggestions?
    Allen & Heath - mixmaster?
    Mackie 1604 VLZ pro?
    Phonic?
    ????
     
  2. audiowkstation

    audiowkstation Active Member

    When I record live, I never use more than a few channels. Popular "upbrat" music uses 4 channels mostly and Classical/Symphonic/Opera 5 to 6 channels. The phase problems of "all those microphones" outweigh the qulity of the minimalist approach.

    Just exactly, what are you thinking in needing 16 channels? It will cause you even more problems in mixdown.

    Three mics on a kit..is about as far as I go for live recording.

    The ideal is a Pair of (B&K 3529) Precision microphones...(now DPA audio)

    --------------------
    Bill Roberts
    Bandstand Productions and Mastering
    West Palm Beach Florida

    1 561 582 3784

    Specializing in Precision Mastering. Hearing is believing!
     
  3. I've just started using an Allen & Heath. In my opinion it sounds much better than a Mackie and it's certainly built better. I'm not familiar with phonic.

    Hope this helps.
     
  4. coldsnow

    coldsnow Active Member

    I've been researching a similar topic. It appears that the Midas Venice may be the best way to go. It is a little more expensive than the models you mentioned though. But it appears worth it although I haven't tried it yet so only going on research alone. They use higher quality components that the Mackie, Allen Heath, and even the Soundcraft Ghost. Basically, each individual channel on the Midas uses the same or similar op amps as the summing buses of the Allen Heath and the Ghost. The Allen Heath and Ghost use cheaper op amps in there channels. Of course it's the sound that matters and really any of the boards will do the trick. The Mackie's do sound the brightest (or less warm) compared to the Allen Heath and Soundcraft if that is what you want. I don't care for the EQ on the Mackie's though unless you are just using them to cut frequencies.
     
  5. RecorderMan

    RecorderMan Distinguished Member

    Bill made some valid points. I might want to use a few more mics than he mentioned ( I'm personally allergic to phase-I break out in hives when I hear it- so that I (or you) can get around. My question is, what is your recording format. Tape (Analog? Digital?), DAW?
    I've a PTmix+ and if I were doing live remotes I'd just rent (or buy) some more dicrete pre's
    (neve's, api's, ect) and compressors.
     
  6. Thanks for all the replies. I have been asked to record the juries at the local college of music and many live events. When I work on classical music situations I use a PZM and 2 414 B ULS's, I usually record these at the college in an acoustic room which is obviously not a multitrack enviroment. Phase is an issue, but I would rather have 16 direct outs if a situation arises when I have to go to a client if they cant come to me. I am mixing in Nuendo and also use PT Free which is a great tool for recording stereo classical recordings.
     
  7. MadMax

    MadMax Well-Known Member

    Stephen,

    Since you are already computer based, I think I'd have a tendancy to lean towards outboard mic-pre's diretly into your DAW. I'd recommend the Langevin Dual Vocal Combo, maybe a couple of Meek VC1's and a Millennia Quad or Eight channel.

    You might also want to look at the Millennia Mixing Suite... although I've never heard one. (I do have a trusted friend that swears by Millennia gear.)

    You can check em' out at: Millennia Media.com Products page

    my .02 worth
    xaMdaM
     

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