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Hello good sound folks!

I am an electronics constructor which would like to understand real needs and to hear wishes from You. You are people who work with recording equipment everyday.
Recently I started constructing passive audio splitters. I have opportunity to buy best sounding transformers for that purpose. Now I would like to hear from REAL people what details and functions would one passive splitter should have.

So please if you have some time, answer these questions or write your own comments (I'll appreciate both same):

1.Do you use some splitter or DI box today?

2.How many isolated outs it have?

3.How many isolated outs per channel would you like to have?

4.If you have one how much it costed?

5.If you dont have one, what price would you pay for splitter (how many channels)?

6.Which connectors would you like to have on ins/outs?

7.Ground lift switches, do you like / need them?

8.What number of channels you prefer in one housing: 1, 2, 4, 6, 8, 10, 12, 16, 24?

9.What is your preferable color of one piece of equipment (nautural aluminium, black, white, beige, blue, gold, orange, red, ...)?

10.Have you and what heard about Lundahl transformers?

Thank you for all kind of answers!
Best regards
Mirrza Z


RemyRAD Tue, 12/25/2007 - 23:08

I do a fair amount of live recording where splits are required between the FOH (front of house) system and the monitor console system. Sometimes, a fourth split may also be required for an additional recording truck as I have experienced in the past.

The transformers you speak of are excellent as well as the original Dean Jensen line of transformers. In many recording situations, the recording truck wants to have the "first split" which is generally, a direct off of the microphone on the primary side of the splitter transformer and having to supply phantom power as well. Unfortunately, we can't always get what we want and in those situations, I'll have to take the secondary side, split side of the transformer. This does compromise Fidelity but since I'm not talking about fine arts/classical music but rock-and-roll, I don't find this as much of a factor. What I don't like are active splitters such as the BSS line of active splitters. We're talking about a compromise crappy microphone preamp which I'd rather not have. In that respect, I'd rather deal with a transformer and all of its inadequacies.

Color? Black. 1-4-8, etc.? Make mine 24 x 3 and include a first split which is 4, at a minimum. $ €? Lots! No transformer is worth its weight, if it ain't good. I've built myself plenty of splitters in the past. Although most have XLR chassis mount connectors, I think a fan out of XLR's wouldn't be a bad idea, i.e. both. For quite a few years I used SESCOM line level split transformers. SESCOM told me I would experience excessive low-frequency distortion but when you think about loud rock-and-roll, there was less transformers saturation and I never had any problems with that nor complaints. If people ever asked, I told them they were Jensen's and they were happy. Of course, I used to know a guy with a wedding chauffeur Company, who had a fleet of antique Rolls-Royces. He would restore them with Camaro front ends and Chevrolet V8's and nobody was the wiser.

Splitting up is hard to do
Ms. Remy Ann David

anonymous Thu, 12/27/2007 - 01:21

Thank you

I agree with you in everything you wrote. Just, about good transformer it is very easy to hear deifference between bad and good, especially on line levels where is easier to saturate the transformers core.

Good sound system(chain) is good as much as weakest link is strong in that chain.

Thanks for your answer!


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