Phantom Power ?

[RoadRanger]

Anybody using the global phantom power on the DL1608 ? I don't much care for global phantom so I've been using passive DI's and a dynamic mic for the drum overhead where a condenser is the "standard"   .

[dpdan]

I use it all the time, it is completely reliable.
I used it on March 9th for a barbershop show and used my Schoeps stereo CMXY4V mic for the quartet...

<a href="http://www.youtube.com/watch?v=qwmxNDZ3Jsg" target="_blank">http://www.youtube.com/watch?v=qwmxNDZ3Jsg</a>

[jlb]

Use it every gig with drum overheads and active DI's. No noise or problems so far.

[Robert]

I've used it since day one with the DL, and have done about 20 gigs now. Used with LR Baggs ParaDI's, and a PG81 mic.  No issues whatsoever, except if i don't turn it on.  I do the sound for a 7 piece Irish band. 

[Tnelson494]

I used it a couple times just for a single drum over head (Shure 81) no issues so far though i forgot about the bass player  I've been running him direct to board out of his  DI  on his Mesa Boogie head so far no issues with his head but i'm gonna hold off untill i get a ballanced 1/4" to XLR for his channel just to avoid running phantom power to his head. 

[RoadRanger]

IME the only "advantage" of a condenser overhead is that it picks up the cymbals better - but also IME the cymbals are picked up plenty good by the vocal mics on-stage and you end up EQing out the highs from the overhead anyways . I often run just a kick mic and an overhead so I'm more trying to get the toms as they are usually the one thing too quiet .

[dpdan]

RR,
when I don't have enough inputs for all the drum mics that I want, I don't purposely mic the cymbals. I use kick (Shure Beta 52A) snare Beyer Opus 87, and Beyer Opus 87 on toms that are Y corded into one input. This gets everything mic'd and sounding awesome,... and only using three channels. The ticket is to use good sounding condenser mics on the toms and snare since the cymbals are going to leak into the tom mics anyway, at least the leaking cymbals have nice "studio quality". Dynamic microphones always have inadequate high frequency detail compared to condenser mics, especially with cymbals. I clip the Opus 87 snare mic onto the snare and point it so that it picks up the Hi-hat also (on purpose), but not the gap between the Hi hats (to eliminate blasts of air) this one mic covers the snare and hat. The mounted toms share an Opus 87 mic as do the floor tom/s, this is better anyway since there would be some phase related issues if we mic'd the toms separately... a win win situation!

These mics are made by Beyer Dynamic and are now called TG D57c.
The brand name "Beyer Dynamic" is not to be confused with dynamic microphones, these are not dynamic mics they are condenser, and need phantom power.

You owe it to yourself to buy at least one and try it on toms or snare. I have also used them inside a grand piano clamped onto the frame of the piano, this allows the lid to becompletely closed and the useable level is unreal! If you buy one and don't like it, I will buy it from you.

Dan

[WK154]

OK! I know your not Dan Jordan and certainly not Jim Raycroft that's were I run out of Dapper Dan names. All this from four part Harmony?  Please if you can explain your  "I use kick (Shure Beta 52A) snare Beyer Opus 87, and Beyer Opus 87 on toms that are Y corded into one input.  " Tying outputs together is not a recommended practice, that's what mixers are for. I have dealt with Barbershop for 30+ yrs. and always with surprises.

[dpdan]

Hi WK,
DP Dan is for Digital Performer Dan 
I make all my own cables, adaptors etc, I use a Y cord that has two female XLRs terminating to a single male XLR.

As long as the microphones that are connected to the Y cord are the same model, everything is fine.
There are people that will say "you can't do that, the impedance will be blah blah blah"...  and that's true, but we can do that without harming anything.

I've used Y cords with mics for ages like this and it's all good.
Dan

[WK154]

Hi Digital Performer Dan Not a former Dapper Dan?. It's not that you would damage anything it's just two impedance's in parallel but there is of course no individual control over each Mic. Mic placement would definitely be crucial. The mics would also have to be well matched in frequency response to sound good. Lots of XY mics out there but none I'm aware of have a single output. There must be a reason for that I just can't remember.

[dpdan]

you're correct about XY mics not having a single output, it would always be best to have control over every single mic, but when you only have 16 inputs on a job and vocal mics and brass and other things are far more important than the toms, that's when we are forced to do what we have to do, but I would never want to mic the kick and snare....
only to have every drum fill go in the toilet because we didn't have the toms mic'd. Much better to have mics on the toms as opposed to not having them micd, even if we have to combine them into one channel, at least the drum fills are full like they should be.

The stereo XY Schoeps mic I have does have a single output (plug) but it is a five conductor XLR with each capsule on a separate XLR breakout cable.
Dan 

[sam.spoons]

The problem with using capacitors this way is that they have active preamps feeding the mic cable and the output of one is driving the output of the other, preamps don't like this and while you may get away with it it certainly isn't "best practice". A small passive mixer would solve the problem without losing too much level.

[dpdan]

it works perfect,
there is no noticeable gain lost in toms,
I know it is not best practice, but best practice and what works are two different things many times,
nothing blows up, green smoke doesn't come out and when you say condenser mic preamps don't like being fed into each other, you are indeed correct,
but I have never heard the mics complain 

Heck, if I could run all my Crown amps into one speaker cable and feed all the double 18 subs I would, and I would have fewer cables to wrap up during load-out,
but that would have consequences. Tying two condenser mics together when we are short of inputs has no consequences at all.  OK I made my point..
the impedance police 

[sam.spoons]

it works perfect,
there is no noticeable gain lost in toms,
I know it is not best practice, but best practice and what works are two different things many times,
nothing blows up, green smoke doesn't come out and when you say condenser mic preamps don't like being fed into each other, you are indeed correct,
but I have never heard the mics complain 

I wouldn't disagree with you, other than to say that "best practice" is "best practice" for a reason. OTOH in the rough and tumble of a live show "bp" goes out of the window with frightening regularity 

[RoadRanger]

I have a little Yamaha MG82CX I use for acoustic gigs. It only has four mic inputs, I've had as many as three "Y" cords into it  . While I've never done that with phantom powered mics like the Beyer Opus 87 there's no reason it shouldn't work it you understand the single ended output topology of a typical condenser mic . "Y"ing together tom mics was very common back when I first started out. You can usually get away with "Y"ing background vocals together or even the lead if the band is good at dynamics .