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Mixer question and recommendation request

Discussion in 'Pro Audio Equipment' started by DrShann, Dec 12, 2004.

  1. DrShann

    DrShann Guest

    Hi all.
    I'm looking for an analog mixer to position between a John Hardy M1 4 channel preamp and a LynxTWO soundcard.

    I will be recording at least 4 mics simultaneously (vox from a Neumann U87, acoustic guitars from 2 Neumann KM184s, and a TBC room ambience mic), so want at least 4 XLR inputs to take the outputs from the John Hardy; preferably there would be more XLR inputs (6+) to give me future options.

    In terms of outputs, I'd be using Mackie 824s and would also want a headphone out on the mixer.

    Budget is about GBP1000. I've heard good things about the Mackie Onyx series, but would would like input on any other brands and models.


    One additional question: What is the typical impact of running the signal through 2 sets of preamps i.e. in my case the John Hardy M1 then the mixer built-in preamps (forgive the ignorance, I haven't used a hardware mixer before).

    Many thanks.

    Dave
     
  2. Davedog

    Davedog Distinguished Member

    In this case you would want the mixer as a monitor section only...there would tend to be a redundancy with the Hardy's and the mic pres in a board and at that price you'll not find ANY board pres to match these.Think monitoring...The new Onyx is a pretty good unit(I really hate Mackie but I'm liking these) A Soundcraft M series would be a good fit...basically any quality small board with direct in/out and some sort of switchable routing for your monitoring...
     
  3. Skeetch

    Skeetch Guest

    Yo Dave, related question on this.

    How are you using your outboard pre's with your Ghost? For example, is your chain:

    source -> outboard pre -> ghost mic or line jack -> DAW/tape?

    Been thinking lately about how to get the full character of my outboard pre's into the recording medium (Radar24) while minimizing the Ghost's preamp circuitry. I could of course go direct from the pre's into the Radar, but I like having the ability to monitor and run cue mixes out of the Ghost, not to mention using the channel inserts if needed. Does running into the Line jack minimize the Ghost pre's?
     
  4. Davedog

    Davedog Distinguished Member

    I go direct from any outboard right to the recorder..be it tape,DAT or the Alesis HD24. The returns from each device enable me to monitor thru the Ghost and I can do this without going thru anything other than the bus I assign as my foldback/monitor ..I personally like monitoring right off of the heads or the direct ins of whatever I'm recording to.....I dont generally use any verb on the monitors ...though I can...I use an Oz monitor system which allows me to add whatever I need to an individual headphone mix, though I always discourage this with any singers I run into....I find theres less pitch problems if you track it dry and loud.
     
  5. Skeetch

    Skeetch Guest

    Ah, ok. Do you just patch dynamics into the pre's (for example) if needed? I'm just paranoid about having the pre's go right into the Radar and frying something if it gets hit too hard. I could could patch comps into the pre's, but they're in a rack on the other side of the board from the pre's. I'd have to redo/remake some cabling, but it could be done.

    Just wonder how much of the outboard pre versus the Ghost's pre's I'm hearing by sending the outboard through the Ghost before it gets to the Radar.
     
  6. Davedog

    Davedog Distinguished Member

    Well, you're hearing all of it...The best path to sonic purity is the shortest one.I dont think you can hurt the Radar with excessive input...you'll hear it break up before it gets too far......besides, most outboard gear has metering of some sort...as for dynamics, I am a firm believer in mic placement and gain stage control at the outset...if some source is being peaky then the mic needs a tweek or a move and the source needs to be adjusted...or a different approach is needed...I very rarely compress anything going in.I find this lends itself to a better means to achieve a mix.Any compression I might want to use will usually be in the form of a tone-changing effect rather than a level control.
     

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