I'm looking into this mic splitter both for the live setup (to tap in to mics going to FOH or stage) and in the studio as to split mics from the PA to the control room so I can record rehearsing bands etc.

I'm happy enough using 'em in the studio, but is a 'typical' sound guy going to be dubious about using them if I turn up at a gig with them? I couldn't think why apart from if they're already using something similar to split for FOH and a monitor feed, they may not want yet another split in the chain.

Anything I should look out for in this situation?

Cheers!

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http://www.loverslanestudios.co.uk

I'm not really a frequent enough sound engineer to be able to give conclusive advice on this, but in my rather specialised experience I've come across the whole range of responses to my kit, from "Wow, that looks good, let's plug it in" right down to "You're not plugging that XXX thing into my Behringer ..." (somehow that situation always involves Behringer kit somewhere).

As long as it's working properly, safe and you know how to use it, you're most of the way there. If somebody refuses to let you use it because they think it'll wreck their kit (or they just don't know anything about it and don't want to take a chance) I don't think the fact that it's an Art product is the point. You could have the same problem with anything, good bad or indifferent. Best plan is if you can sort it out with the guy before the gig. If I had somebody want to take a split from my gear I'd like to know in advance and be able to make sure we all know what we're doing.

Presumably you'd need to be carrying 2 x XLR multicores, one to carry the signal from the splitter to your own kit and one for the FOH.

I used to use a single channel splitter to accommodate my IEM. I never had it refused but I got a few odd looks, particularly when the SE was just about holding it together and didn't want to introduce any extraneous variables.

Introducing the idea early and without sudden movements might be the key.

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Ohm's Law states, "Your PA isn't as powerful as you think it is".

My two esteemed colleagues have already said a lot of what I was thinking...

... but that won't stop me!

The 'tell them in advance' technique is good if you can get hold of them. When I was doing radio OBs in 'production house' mode there were generally four different reactions:
1) It's not going to muck-up our system is it? (Usually from those who were willing volunteers who didn't know too much about live-sound.)
2) Sure, go ahead as long as you've got all the extra cables needed.
3) OK; but keep it well out of the way of our gear - on-stage or by FoH.
4) He's from the BBC so it must be alright! (I wasn't; and not necessarily so!)

There was also sometimes a worry about two lots of phantom from those who didn't know how such splitters work. That said, I usually negotiated an agreement on who would supply phantom to the mics.

The only other thing I'd say is that even if you've secured previous agreement it's good to get everything connected-up before soundcheck - especially if you'll be working with those who aren't quite sure about what you're doing anyway.

Thanks guys. Good stuff. I'd certainly be making some calls in advance and getting there early doors. Cheers!

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http://www.loverslanestudios.co.uk

Quote Mike Stranks:

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My two esteemed colleagues...

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I'll have you know, Sir that I'm perfectly sober!

Congrats on the elevated status BTW, M. I'm sure you've already been handed the nuclear codes, etc. Just in case they haven't given you the official lyric sheet:

"We are the Mods, We are the Mods
We are, We are, We are the Mods"

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Ohm's Law states, "Your PA isn't as powerful as you think it is".

Although it has been stated before, you really shouldn't expect a lot of cooperation from a working stiff in the midst of battle. It is crucial to make arrangements well ahead of the day.

It also needs to be stated that you will need to negotiate who gets the main signal (this person will also need to supply phantom power) and who gets the split from the transformer. nb. the transformer split is going to be 3db down from the main signal, and could really muck up someone who has already gain staged the rig.