Turtlerock Forum

seven guys all playing live together in one room? Toss the headphones away ..

from a man who makes a very fine headphone amp….
;-)

I'm really not into the "mix yourself" or even "more me" headphone systems
i find with that much choice, for people who probably shouldn't have it
you end up with more problems than you started

i like to do a couple of good headphone sends
most (all?) players of my studio mix (i have a separate studio out going to each room, so can control volume independently, but still the same mix)
then probably a different mix for the drummer (who will want loads of click and kick) either as a "main mix plus" or as their own mix totally
and another mix for the main vocal - again - they will want loads of themselves, so either main mix plus that, or their own mix (they prob won't want keys etc that they aren't pitching to.

so thats 3 mixes, and 3 good headphone amps
for me
I'm sure others go about it in other ways

rob wrote:seven guys all playing live together in one room? Toss the headphones away ..

Definitely the way I prefer to go when there is the band playing live in the studio. The vast majority of my sessions are this way.

What about the be!@#$%^& Powerplay 16?

It seems to be getting some very decent reviews. Its a poor mans Aviom.

Ive been using the Hearback system for about 5 years and its been great.
It's a Cat5 based system with an 8 input central hub and up to 6 or 8 personal headphone mixers.

My 2 bob,
cheaper/more time consuming way of doing it (coz everyone's got oodles of time hey...) is making a 3, 4, or 5 way 8 to 16 channel split stage box that's sent from your daw/tape to live room (s). Depending on conditions may need to be tx isolated. breakout looms to your desired lil mixers via the breakout box and the artist can control their own individual mix (with fx if said mixer has it) just like a digital hearback or aviom system.

Has worked great for us with the above method; sending pre daw.via the lynx mixer so little to no sample delay. Reason for doing this is cat 5 points weren't easily in-stable for our situation. Ground loops/hum was the main issue if anything.

On another note, Lee Carden has just installed a powerplay 16 system at his place and apparently works a treat. Lee??

Tons of different ways so your choice really.

Cheers

Depending on your DAW/Hardware I like to route using the submixers in either DAW/Hardware and then send out separate monitor mixes for whomever wants them. This way the mixes are recalled, easily altered and and you can scatter simple headphone amps wherever and patch them into line outs from the control room… every time I've used user controllable units it has been a nightmare.

mylesgm wrote:Depending on your DAW/Hardware I like to route using the submixers in either DAW/Hardware and then send out separate monitor mixes for whomever wants them. This way the mixes are recalled, easily altered and and you can scatter simple headphone amps wherever and patch them into line outs from the control room… every time I've used user controllable units it has been a nightmare.

yeah but what if you set them up, mark them, then are able to return to the settings as designated by the engineer? i've found that to be very manageable. also!

what about the idea of multiple lines out of the CR into the other rooms with cheap ass be!@#$%^& mixers for the headphone amps? Thus easily replaceable (model not important...just inputs/etc) and loud as heck, with standard input cabling for connections....

I have often wondered why people who own studios don't do this. Surely cheaper than some proprietary system?

and no CAT5 BS connectivity.

I've used the Furman HDS-6 and HR-6's to some success.

Easy to use as a simple stereo only thing, or you can send out some basic stems.
It uses RJ-45's to get the units and loop through, all analogue but.

I think we're all overlooking the importance (and the art) of putting together a great cans mix.

Of course, very few engineers actually have the skill, experience, or patience to be able to do it properly... but when you see someone who is brilliant at it at work (hi Dave ;-) then you might see the value in making it part of your skill set.

I can't tell you how valuable it is in a session to have someone be able to take care of that - honestly it's one of the most important skills a recording engineer can have. To be able to listen to a band and know purely from the way they are playing that the drummer has too much bass, or the singer needs more guitar - and to know this even before they do! - is priceless.

But to be fair, it's beyond a lot of us, and it gets pretty hard if you don't have a (decent) console. Still, it's an art very much worth learning if tracking bands is your thing.

I've spent some time this year at Chris' Linear Recording Studios. They have the Hearback system, and I have to say I loved it, both when I was engineering there and when I was doing some playing as well. If I ever build a serious recording space this is the way I'd go.

When I was producing I loved having one less thing to worry about which frees me up to concentrate on what's important... getting the sounds and the good takes. When I was playing I loved being able to constantly refine my own mix based on how the guys were playing or what song we were playing.

The system is pretty simple there. Each guy in the band just had the following to play with:

Drums (stereo mix)
Bass
Guitar 1
Guitar 2
Guide Vocal
Reverb

Even a musician can work that out

NF.

Hearback, hands down. If you don't like giving the artist that much control than premix it for them. It's loud, versatle & reliable for 6 years.

I think if it was me! I'd pay the extra to Rob to make a system for you. I own a custom dual unit that Rob made for me & it is amazing

Mytek Private Q for me.

Has more headroom the the Hearback and packs a bit more punch. They sound great too

Downside is that they are a bit pricey and don't like being hot-swapped