J Moose
New member
Re: How to hook up PODxt to PA?
Heheheheheh
:stooges:
I thought I had kinda explained it...
You kinda answered it yourself too!
It's not that a +4dB line level signal CAN'T be plugged straight into a console... because it CAN, that's why desks have balanced line inputs...but truthfully they're just not used much outside of 'recording' enviornments.
Live shows are fairly hostile enviornments and it's just way WAY easier all around to shove the output of anything linelevel into a direct box for a multitude of reasons...
Impedance is one of 'em.
Running high impedance signals over a long distance say a coupla hundred feet is like inviting the Gremlins to that bash you threw when your parents left town for a week during your Sophmore year of high school.
You'll loose a whole lotta top end & the chances of picking up stray radio or electrical signals shoots WAAAAAAAAAAAAAAAAAAAY up.
Ponder the tonal difference between having a 50 foot cable connecting 'yer Strat to the Marshall wall of death and swapping THAT with a 10 foot cable...
Big difference right?!
Let's multiply it.
The other side of the coin (in a live enviornment anywhoo) is basic connectivity.
In a "pro" live rig just about everything is on an XLR including all the stage box connections. On the flip side of the stage box there could be anywhere from one to three consoles in a BIG BIG show...
FOH (front of house, where the show is mixed for the sheeple); monitor world for the 'stage' mix and maybe a seperate recording rig located in a truck or an entirely different & isolated room within the venue.
For that sole reason it's really "best" to have all signals from the stage be mic level rather then a mix of line & mic... who's got what mispatched where?
In the case of a mispatch sending line level up a mic level channel would be SUPER bad since line level is about 10,000 times louder then mic level...
(Which %^&%*(&@#()*@Q$ channels are line level again!!!!!????!?)
I hope I don't need to explain THAT scenario in much detail...
XLR connectors have a whole bunch more surface area where it counts then a 1/4" connection which is good.
XLR's also 'lock' into place... greatly reduces the chance of some dope stagehand yanking something when he trips over a cable during the flugalhorn exchange halfway through the drum solo...
Did that help at all?
I still haven't seen a real, technical explanation as to why you can't plug a balanced +4 line direct into the PA. All I've seen so far is "that's not how its done".
If you're going to call me a dumbass, at least explain why I'm a dumbass.
Heheheheheh
:stooges:
I thought I had kinda explained it...
You kinda answered it yourself too!
It's not that a +4dB line level signal CAN'T be plugged straight into a console... because it CAN, that's why desks have balanced line inputs...but truthfully they're just not used much outside of 'recording' enviornments.
Live shows are fairly hostile enviornments and it's just way WAY easier all around to shove the output of anything linelevel into a direct box for a multitude of reasons...
Impedance is one of 'em.
Running high impedance signals over a long distance say a coupla hundred feet is like inviting the Gremlins to that bash you threw when your parents left town for a week during your Sophmore year of high school.
You'll loose a whole lotta top end & the chances of picking up stray radio or electrical signals shoots WAAAAAAAAAAAAAAAAAAAY up.
Ponder the tonal difference between having a 50 foot cable connecting 'yer Strat to the Marshall wall of death and swapping THAT with a 10 foot cable...
Big difference right?!
Let's multiply it.
The other side of the coin (in a live enviornment anywhoo) is basic connectivity.
In a "pro" live rig just about everything is on an XLR including all the stage box connections. On the flip side of the stage box there could be anywhere from one to three consoles in a BIG BIG show...
FOH (front of house, where the show is mixed for the sheeple); monitor world for the 'stage' mix and maybe a seperate recording rig located in a truck or an entirely different & isolated room within the venue.
For that sole reason it's really "best" to have all signals from the stage be mic level rather then a mix of line & mic... who's got what mispatched where?
In the case of a mispatch sending line level up a mic level channel would be SUPER bad since line level is about 10,000 times louder then mic level...
(Which %^&%*(&@#()*@Q$ channels are line level again!!!!!????!?)
I hope I don't need to explain THAT scenario in much detail...
XLR connectors have a whole bunch more surface area where it counts then a 1/4" connection which is good.
XLR's also 'lock' into place... greatly reduces the chance of some dope stagehand yanking something when he trips over a cable during the flugalhorn exchange halfway through the drum solo...
Did that help at all?