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Rsf-12 /AEA TRP: best output AEa to best input RMEFX

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Rsf-12 /AEA TRP: best output AEa to best input RMEFX

Postby hooty2 » Sat Oct 13, 2018 4:16 pm

Hello,
I'm looking for a bit of reassurance on my recording set up.

Part of my recording chain involves royer SF-12 into a AEA TRP preamp.

Other mics go into ISA828 then via ADAT to RMEUFX interface

For the SF1-2 from the AEATRP pre, should i go direct into the RME from the TRP & which outputs should be used?
The balanced XLR into mic inputs on RME (seems a bit wrong?)
or
The unbalanced TRS into the line inputs on the RME.

I hope that quandry makes sense?
thanks in advance
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Re: Rsf-12 /AEA TRP: best output AEa to best input RMEFX

Postby blinddrew » Sat Oct 13, 2018 4:27 pm

Personally I'd buy/make some xlr-trs cables and run the balanced xlr out from the AEA to the balanced in on the RME.
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Re: Rsf-12 /AEA TRP: best output AEa to best input RMEFX

Postby Wonks » Sat Oct 13, 2018 4:35 pm

What Drew said. XLR to TRS cables.
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Re: Rsf-12 /AEA TRP: best output AEa to best input RMEFX

Postby Hugh Robjohns » Sat Oct 13, 2018 8:59 pm

Yep, balanced XLR out of the TRP, into the balanced TRS line inputs of the RME.
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Re: Rsf-12 /AEA TRP: best output AEa to best input RMEFX

Postby hooty2 » Mon Oct 15, 2018 9:40 pm

Thank you for replies. I hoped for that confirmation.
I gave the full set up, as often, experienced people often add a few details I may not have considered or known to have asked about.
I'm keen to use the gear to it's best.
Thanks again.
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Re: Rsf-12 /AEA TRP: best output AEa to best input RMEFX

Postby hooty2 » Tue Oct 23, 2018 5:57 pm

with that thought in mind, Royer gave a helpful tip:
Keep the preamp and the Royer ribbon as close to each other as possible & use the preout to connect over distance to the interface.
As i'm using a ambient giant boom and then more xlr to the recording rig (cathedral) this presents the issue of getting power to where it is needed.
H&S...etc.
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Re: Rsf-12 /AEA TRP: best output AEa to best input RMEFX

Postby Hugh Robjohns » Wed Oct 24, 2018 10:10 am

hooty2 wrote:with that thought in mind, Royer gave a helpful tip:
Keep the preamp and the Royer ribbon as close to each other as possible & use the preout to connect over distance to the interface.

In general, keeping the preamps as close as possible to the mics makes a lot of sense.

Microphones produce very low level outputs, and so their signals are always going to be more prone to interference than line-level signals, and longer cables mean more chance for the interference to get in. Also, there is (in theory at least) a greater risk of HF loss and transient distortions when trying to drive signals down very long cables, and of reduced phantom power voltage at the mic which can reduce headroom etc (if the cables are poor quality!).

However, I've found these things to be theoretical concerns rather than real-world practical issues, and I can't actually remember any time I've had an issue that forced me to think, I really need to move that preamp to the base of the mic stand!

Having said that, I have placed preamps at the base of the mic stands... but that was done for more practical reasons in the studio at the time, rather than because it sounded noticeably better.

In your case, with public concerts, you have the problem of keeping sticky fingers off the preamp (both in terms of tweaking it or turning it off when no one is looking, or of walking away with it -- I've known all three to happen!), and of the added hassle of getting mains to it. Potential reliability decreases dramatically, it's a lot more hassle to set up and derig, and while you may get a stronger signal down the long cable to the recorder, you've also got new concerns of ground-loops, local fiddling failures, and difficulties in optimising gain structure etc.

Personally, if the cable run is under 100m in total, I just plug the mic in one end and the preamp in the other. Job done! :-) If it's longer than that I'd only move the preamps if I can really hear something is not as I expected it to be -- and using a preamp with a higher input impedance can also help (the AEA TRP has an input impedance of well over 18k), in that situation! And just to give a scale of things, BBC OBs regularly plug mics into many hundreds of metres of cable (I've known of kilometer runs at some race courses!) without any practical issues at all...

H
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