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<DIV><FONT size=2>In the larger venues that I've set up for, ALL the cables on
stage are mic inputs (balanced XLR) going to the monitor mixer at the side of
the stage, and then on to the front-of-house mixer. All of the microphones
(vocal, drum, etc.) go straight in to the XLR snakes and end up at the monitor
mixer. Usually the amp'ed stuff (guitars and basses) get mic'ed and go into the
snakes as well. Sometimes the guitar and bass amps get an additional DI from an
aux line out into the board. As for the keyboards, everything is line level
there so all of the keyboards go into a local submix (quite often a Mackie 1202
or something like that) and then into a pair of DI's for a stereo mix to the
board. Sometimes each keyboard gets its own DI or pair of DI's, if there's
plenty of un-used mic inputs and there's enough DI's to go around. This works
well for things like Mellotrons so the guys at the boards can EQ and noise gate
them. However, it seems like there's never enough DI's to go around, and even if
there are, the drum tech will use them up in a hurry! Quick, hide the
mics....</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>One problem with the local submix approach that keyboard
players frequently find themselves stuck with, is that the level balance of the
instruments is set on stage rather than at front-of-house. The keyboard player
usually has no clue when there's a level problem, and the poor front-of-house
guy has only a stereo pair to deal with! We usually get the best sound during
the show when every instrument has its own DI.</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>- Gene</FONT></DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=jdarby@lplizard.com href="mailto:jdarby@lplizard.com">Jon Darby</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=synth-diy@node12b53.a2000.nl
href="mailto:synth-diy@node12b53.a2000.nl">synth-diy@node12b53.a2000.nl</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Tuesday, April 10, 2001 9:57
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> [sdiy] Direct Injection
box?</DIV>
<DIV><BR></DIV>
<DIV><FONT color=#000000 size=2>Howdy, everyone,</FONT></DIV>
<DIV><FONT color=#000000 size=2> What exactly, from an
electron's point of view, is a Direct In box? I've had to play through a few
as a bass player in some shows, mainly where some professional sound guy named
"Smokestack" Jenkins has been hired to do the sound. I've never questioned
what it was. Does it just split the signal and boost the outgoing signals to
make up for any loss in the split process? What amplifier did the other output
go to that required this beast? Do some PA systems run inputs at line level?
The reason I ask is I was curious about sending my Theremin's audio out
through my Moog Rogue's Audio In to see if I want to clone its filter to add
to my Theremins, and apparently it requires a hotter signal to pass the audio
through. What parts are involved in building one? It couldn't possibly be more
than a slight amplification of the input audio, could it? Could a simple
transistor amplifier circuit suffice? Are there any public schematics
available? THank you for entertaining this wordy request!</FONT></DIV>
<DIV><FONT color=#000000 size=2></FONT> </DIV>
<DIV><FONT color=#000000 size=2>Your pal,</FONT></DIV>
<DIV><FONT color=#000000 size=2>Jon
Darby</FONT></DIV></BLOCKQUOTE></BODY></HTML>