In article ,
Iain Churches wrote:
You said earlier perhaps the other four were line level only. Don't you
know?

No I did not say that. I said that the last four mic preamps
did not have phatom or even a phantom indicator.
All sixteen input modules are otherwise identical.
I wondered if perhaps the last four had been used as line
feeds from another control room.There was clearly some
good reason.

Line feeds are generally line level, Iain. Do you understand what that is?

Other than that, I can't think of any reason not to have phantom on all
mic amps - other than to save costs.

In music recording there are many sources that need no microphone
(and so no phantom) - Bs guitar can be DI, as can rhythm gtrs,
keyboards, drum machines etc. Some of these use a self powered
DI box, or plug straight into the console.

No ****, Sherlock? Perhaps you don't understand phantom power. Properly
installed, it has no effect on a source which doesn't require it.

The console was specified as 16 into 24 with 12 phantoms, by
NDR. If that troubles you so much, take it up with Studer or
even NDR. The present owner who composes for films and
TV does not use more than ten mic inputs (his drum kit) at a time,
so it is perfect for his needs also, and even though this is a big desk,
it does not have the same footprint as a large format 24/24..

Well, you could ask them why it was designed this way if it is important
to you. But you are the one who said it was a stupid idea - as you were
using an external phantom supply. Something I've not really seen in use
with pro gear for many decades.

So 16 into 24 is ideal. One puts down drums and bass first
- that's eleven channels -I'll leave you to work that out - and then
continue with overdubs, keys, strings, brass, woods, percussion
and vocals, separately, often one or two channels only at a time.

I'm sure it would have its uses in a budget studio.

Do you have any idea of the value of such a console?
Budget studios use Soundcraft and Mackie.

I've no experience of budget studios, Iain. I bow to your knowledge of
such things. Mackie etc are more entry level stuff you might find in a
kid's bedroom.

How many studios have you worked in, Iain, where 12 channels of mic
amps would be adequate for everything? Perhaps OK for a home one where
you have all the time in the world.

In most multritrack productions, one starts with drums,
bass, piano and acoustic guitar. So twelve mic channels
with phantom and one DI is perfect. After that, when you
start track laying you need just one or two mics.

Then stop things while you re-configure everything for the next bit.
As I said, low budget or very small studio, where time doesn't matter.

In classical recordings a Decca tree and two outriggers
(five mics in all) is perfect for an orchestra of sixty players.
With another two mics you can add a choir of 60 singers.
That's seven mics, so five channels from twelve unused.

Are you talking about multi-track or 'live' recording Iain? Or perhaps you
simply don't understand the different requirements?

--
*Why do overlook and oversee mean opposite things?

Dave Plowman London SW
To e-mail, change noise into sound.