Off the board, or off the speakers?

[Greg Miller]

Originally Posted by Ty Ford

Actually, some of the modular speaker systems do have a loop through feature

Yes, I realized that, and had some comments about it in reply #8 (above).

Strictly speaking, I guess I don't consider that an output from the speaker, it's really just a loop-through of the output from the board. As such, there's no advantage (except maybe convenience of cabling) to using that loop-through, instead of an actual output at the board. And with the loop-through you might have the problems I mentioned in #8 above.

[Jonathan Plotkin]

I wonder if someone could summarize the differences (with respect to connecting a recorder) between the several output options on the Mackie mixer I'm looking at. There's a "tape out" that uses RCA jacks, a "line out" that uses quarter inch jacks, plus there's the option mentioned in this thread of connecting to the "loop out" on some speakers. Thanks!

[Chad Johnson]

That's all basically "line" level outs. "Tape out" is usually RCA female, so you need a couple "RCA male to XLR male" cables. You basically need at least a couple of every kind of adapter (RCA, 1/4", XLR, 3.5mm) to go from a board, speaker, whatever, into your recording device. If your device records at line level then you're good, if not get the in-line attenuators I mentioned earlier. I have 2 and they have saved my butt:

http://www.bhphotovideo.com/c/product/68085-REG/Audio_Technica_AT8202_AT8202_In_Line_Attenuator.html
You must be prepared. Don't just get the bare minimum for this one gig, get what you need to cover any gig.

[Jonathan Plotkin]

Originally Posted by Chad Johnson

That's all basically "line" level outs. "Tape out" is usually RCA female, so you need a couple "RCA male to XLR male" cables. You basically need at least a couple of every kind of adapter (RCA, 1/4", XLR, 3.5mm) to go from a board, speaker, whatever, into your recording device. If your device records at line level then you're good, if not get the in-line attenuators I mentioned earlier. I have 2 and they have saved my butt:

Audio-Technica AT8202 In-Line Attenuator AT8202 B&H Photo Video

Thanks Chad. Just to be clear, all of these outputs are the same mix - essentially what's coming out the speakers, right?

[Chad Johnson]

Yes, all of those give you the mix as the sound person intends it.

[Jim Snow]

Originally Posted by Chad Johnson

as the sound person intends it.

...which can be a HUGE problem.

[Chad Johnson]

You can get "pre-fader" feeds of each track, but not all boards, or sound-people, can do that. But short of setting up your own mics on everything, we sometimes have to deal with soundmen, or DJs. Then you get what you get and you don't throw a fit.

I just delt with the nightmare of recording an all voacal concert at a "state of the art" concert hall. There were 5 mics on stage. The soundman gave me all 5 as pre-fader, only there was a bad hum on all the tracks. He could not track it down, but we discovered the hum was gone when he gave me "post-fader". Not optimal, but we went with that because the show was starting. I hired a 2nd camera guy, I ran one camera, and setup/monitored the audio. I had my Tascam DR-680 getting the 5 mics. I got a full mis board feed to my Sony D-50, and a Rode NT-4 mic going into my camera. Buess what - I needed all 3 of those record methods to deliver a complete show to the client. As it turns out the sound man would turn off the mics when the audience applauded. So if I only got the 5 mics, there would be big blanks on the applause. So my Rode NT4 captured the audience and saved the day, and gave me a nice room sound to blend with the dry sounding mics. So it sounds like a hall, not a bedroom. But there was also a guy singing once with a wireless mic in the middle, the shoudman didn't rout that mic to one of my 5 channels in time, so I missed the first 10 seconds of this guy singing - BUT my Sony D-50 captured the whole mix as the soundman intended for the audience. So I used that, then faded to the better sounding signal I got 10 seconds later.

Moral:
Could have been a frickin' nightmare, but I got everything because I was prepared, and MY mix sounds better than the sound man's did in the theater. I can't stress enough the importance of being prepared, Maybe you can't afford everything at this moment, but at least have the goal to get everything you need for recording audio for your video. A 2 channel recorder is fine, but plan on a multi-channel recorder too. 800.00 for a DR-680 is not a lot in the big picture. Have a decent stereo mic. (Also have a hyper, a shotgun, and a wireless.) It's easy to set up a stereo mic, and any live event will sound better if you record the room as well as the board, AKA "Matrix" recording. Get the adapters and cables now and forget about them. You'll be stoked when an issue comes up and you have the solution. Aspire to be "Johnny on the spot" and you will not be at the mercy of the inevitable lameness of anyone you depend on for anything at an event that you aren't running.

I know you're talking weddings, but in general a lot of this applies.

Cheers

[Greg Miller]

Originally Posted by Jonathan Plotkin

Just to be clear, all of these outputs are the same mix - essentially what's coming out the speakers, right?

I don't think it's quite that simple. What comes out of the speaker may have gone through an overall room equalizer, which you do not want; and there may be differences in level, too.

Originally Posted by Chad Johnson

You can get "pre-fader" feeds of each track, but not all boards, or sound-people, can do that

Right. And there are pros and cons. Your example was, painfully, a good one, Chad. Depending on the event, getting a pre-fader feed might be helpful. Or, in a different situation, it might leave mics open that should be off, or give a bad mix.

Two issues not addressed are various levels, and overall room EQ.

Scenario 1: no room equalization, amplified speakers.
In this case, the "line out" or "main out" from the mixer will go directly to the amplified speakers. A loop-through feed from the speaker will be the same as "line out" from the mixer. "Tape out" will probably be the same mix but possibly a different level. (As we all know, there are different standards for "line level", so you really need to consult the manual for each specific mixer.)

Scenario 2: no room equalization, separate power amp and speakers.
In this case, you do not want to record from a speaker tap, because the signal going to the speaker will have gone through the power amp. It will be much higher than line level, and will include any noise and distortion from the power amp.

Scenario 3: room equalizer in use ahead of amplification.
In this case, the "line out" or "main out" from the board feeds into the equalizer. The equalizer output feeds to the power amp, or to amplified speakers. You want to record directly from one of the outputs on the board. If you record at the speaker, the signal will have gone through the room equalizer, so it will not be flat. You want a flat signal for the recording so you must get that directly at the board.

The safe choice is always to record directly from the board. Otherwise, you need to be aware of whether or not the DJ is using room equalization, and whether he's using amplified speakers, or separate passive speakers and a power amp. Also, "tape output" is probably the best choice. On some boards, that might be ahead of the main faders (or else you can get a sub that's ahead of the main faders) and that will eliminate problems with the DJ changing main output level to compensate for changing noise levels in the room.

IMHO, it's simplest always to get the signal at the mixer... probably tape out. Less worries in the long run.

But, as I said, Chad's example was excellent. It's more than an "electrical" question. You need to be prepared for the "Board Op (or DJ) Surprise" that will bring you down.

[Jim Snow]

Another little surprise that DJs often dish out is a nice blast of feedback during the first toast. This is the way these 'entertainers' establish their volume level. They crank it up until it squeals and then back it off a bit. They sometimes will do this 2 or 3 times before they are happy with it. When that happens every mic in the room will pick up the squeal whether it's on a recorder, camera or anything else. I always have two cameras recording during the toasts both aimed at the speaker. That way I can edit out the squeal without looking like I did a jump-cut and took something out. You can switch to the other camera when you edit and cut out the squeal. Almost always when this happens, people stop talking until the feedback stops. I just shot a wedding where that happened three times during the reception toasts. One of the feedback episodes was so bad that the speaker (the groom) took two steps back and looked very annoyed. I cut that piece out and switched cameras at the same time. You cannot tell anything happened. That sort of scowling reaction isn't something you want to leave on someones wedding video whether or not it was your fault.

There are some really professional DJs who are a pleasure to work with. They know their stuff and they won't hand you any surprises - at least not very often. Unfortunately they are in the minority. When the DJ shows up and look like a punk zit farmer or beta test site for drugs, watch out, you're going to have a tough evening. The more independent you can be from these jokers, the better.

[Steve House]

Originally Posted by Jonathan Plotkin

Thanks Chad. Just to be clear, all of these outputs are the same mix - essentially what's coming out the speakers, right?

Not quite. The "Tape Out" is post main mix fader so it tracks with the master output coming from the XLR main out but it is at -10dBv consumer line level while the XLR outs are at +4dBu studio line level. But riding gain on the Main Mix fader does adjust the levels coming from the Tape Out as well as that of the speakers. If at all possible try to take your audio from the board from one of the Aux or Monitor bus sends as they will be pre main mix output fader and not subject to the level variation caused by the board operator riding gain on the speakers.

[Andy Turrett]

You mentioned that the "drums" are coming through the sound sytem. So this is more than just a DJ with a DJ console. Right? Sounds like you are saying you want to record the band as well. Rarely will you get a good band mix off a mixing console unless you are taking a feed from an Aux mix that someone is monitoring. For a decent band mix I recommend that you find a sweet spot in the room to place a mic. Probably up high away from crowd noise and place where you get a good mix of speaker and stage sound. If it is just vows and MC that you are looking for then taking a out from the board will work fine. You could probably get decent sound micing the speaker assuming there are not ground loop hums or other noises coming through the speakers.

Andy

[Paul R Johnson]

I just spotted the mention of drums - which made me too wonder if it's a bit more than a few CDs? The assumption was made that everything was miked up, so would be balanced. Not so! In smaller venues, the back line amps the guitars/keys and bass player use make quite a lot of noise on their own, and the drummer is a loud source on his own - so the mix the sound man produces has less drums in it because they're already loud. Much time is spent getting the quieter sources up to the total level of the others, so if there's a sax, or flute and voices, they will be only through the PA, so will be higher in level than the drums - because they don't need any more. As a consequence, a feed direct from the mixer will sound very strange - often bass light and a bit thin sounding. Even with the best operator, you will get a level - which if they are not too busy, they'll keep an eye on (not ear - they just monitor the led meter on your output channel) What you actually get balance wise is very hit and miss. Their primary aim is good room sound, not video feed balance.

[Jonathan Plotkin]

Originally Posted by Steve House

Not quite. The "Tape Out" is post main mix fader so it tracks with the master output coming from the XLR main out but it is at -10dBv consumer line level while the XLR outs are at +4dBu studio line level. But riding gain on the Main Mix fader does adjust the levels coming from the Tape Out as well as that of the speakers. If at all possible try to take your audio from the board from one of the Aux or Monitor bus sends as they will be pre main mix output fader and not subject to the level variation caused by the board operator riding gain on the speakers.

Still a bit confused... is it correct to say that the Aux or Monitor bus sends the same mix as the speakers (i.e. the same "proportions" of each input) except for overall gain? Thanks again, this thread is super helpful.

[Chad Johnson]

Firstly, are you just recording toasts & ceremony? Or will there be a band going through the PA too?

Without getting too involved with trying to get the DJ to give you specialized feeds, I have found that just getting a "Tape Out" feed of the board has worked fine for these small sound requirements, i.e. one or two people talking through a mic. Let's not make it too complex here. The big thing is to talk to the DJ/Sound person as far in advance of the event, to see what they can give you, and so you have time to get the proper adapters.

[Steve House]

Originally Posted by Jonathan Plotkin

Still a bit confused... is it correct to say that the Aux or Monitor bus sends the same mix as the speakers (i.e. the same "proportions" of each input) except for overall gain? Thanks again, this thread is super helpful.

No, they don't. The aux busses are parallel to the main bus. Each channel strip sends to each bus separately. The aux busses also have completely separate output levels, independent of the main mix. I could, for example, send a mic on input channel 2 to aux 1 out without it appearing in the main mix at all, or the other way around - have it in the main but not send it to aux at all. Or I can send it to both. The output from those busses will also have its own level control completely independent of the main level. By using an aux out you can setup a proper recording mix to come out of the aux while the board op does his thing with a house PA mix on the mains, and the two won't interfere with each other.

There are variations from manufacturer to manufacturer and between different mixers with a given manufacturer's lineup. The best bet is to download the manual for the specific model you'll be working with and study the block diagrams and routing info. It can be bewildering. My Mackie 1642 has direct outs on each mic channel, 4 mono aux busses with their own outputs with the input channels routable to any or all of them in any combination, four submix channels with their own outputs that can either send a contribution to the main mix or out inpdendently, the main outs and a tape out, plus a mono out that sends a mono mix tapped off the mains post-fader. Then there's also a set of tape level inputs and aux inputs as well!