i need to use at least 10 sets of dt100 headphones in the studio i'm
building i have 3 multicores with 4 returns each going to 3 rooms
my console has 2 x h/phone outs and 6 x aux sends
i need to buy a h/phone amp but not sure which type .
dose anyone have any info on this subject ?
i would be very grateful for any help
thanks greeny
multiple headphones in the studio help
Moderator: Aaronw
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greeny
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- Location: manchester u.k.
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kendale
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- Location: Hawaii
Aloha,
Something like this perhaps?
"Following up on the tremendous success of its HDS-6/ HR-6 Headphone/Audio Distribution System, Furman introduces an enlarged and enhanced system, the HDS-16/HRM-16 Headphone/Audio Distribution System.
The HDS-16 Headphone/Audio Distribution System and HRM-16 Headphone/Audio Remote Mixer are the logical extension to Furman's very popular headphone amp/audio distribution lineup. These models are designed to function equally well for both live (in-ear or stage monitors) and studio applications, allowing greater flexibility and ease for both the user and the engineer.
The HDS-16/HRM-16 Headphone/Audio Distribution System cleanly routes 8 mono and 4 stereo signals to remote mixing locations via Centronics 50 pin cables. Up to eight HRM-16's can be connected directly or daisy chained to a single HDS-16, allowing as many as sixteen users (two per each HRM-16) to customize eight different mixes. A unique talkback system allows each user to communicate with other users and the main mixing location. Additionally, a SOLO system allows the engineer to mute all but one stereo send from the mix location -- very handy for reviewing recent takes or rough mixes. Additional HRM-16 features include local effects send/return, line out, overall bass/treble controls, talkback level, and a master level control.
The double rack-space HDS-16 provides full patching functions on its front panel via 1/4" and TT input jacks, and is intended to be installed at the mixing console location. The HDS-16 provides power and signal conditioning to drive the HRM-16 Remote Mixers. There is no power cord or wall wart required for the HRM-16's. In addition, it includes two 1/4" jacks for the two-way talkback functions, and a SOLO REMOTE switch with an indicator that allows muting of all but one stereo feed at all HRM-16's. This comes in handy for isolating tracks for critical listening without having each HRM-16 user turn down all but one channel. The SOLO function also includes a 1/4" jack so actuation can be done with a footswitch. Front panel indicators include POWER ON and SOLO ON. The rear panel includes six Centronics 50 pin connectors to link up to six HRM-16's (more if daisy chaining is used), and the standard Furman ON/OFF and GROUND LIFT switches.
The unique talkback system is extremely versatile. It can be configured two different ways by moving a jumper on the circuit board in the HDS-16. One way allows the talkback mic on each HRM-16 to be fed to all of the other HRM-16 units as well as the HDS-16. The other configuration allows communication to the HDS-16 only. This is particularly useful for stage use where the user's talkback mic should not feed into all of the monitors (including the user's own monitor).
The HRM-16 Remote Mixer may either attach to a mic stand with the included mic stand clip and hardware, or be placed on a table or shelf. The unit requires no external power, and allows full volume/low distortion headphone mixes to be created on the fly.
The eight mono and four stereo signals each have level controls. Each mono channel also has a pan control and an effects send control which feeds its own rear panel 1/4" send/return jacks; the affected signal is returned into the mix and controlled via a stereo effects return knob. Also on the rear panel of the HRM-16 is a mono line out 1/4" jack to drive stage or in-ear monitors, a jack for a talk-back footswitch, and two 50 pin Centronics connectors to allow daisy chaining of up to four HRM-16's.
Connecting HDS-16 and HRM-16's is easy, as each mixer is supplied with a 25-foot super-flexible interconnect cable which can easily be extended or routed through walls and daisy chained to other HRM-16s. Cable extenders and thru-wall installation kits are available as well (see below).
The HDS-16 and HRM-16 are sold separately."
Aloha
Something like this perhaps?
"Following up on the tremendous success of its HDS-6/ HR-6 Headphone/Audio Distribution System, Furman introduces an enlarged and enhanced system, the HDS-16/HRM-16 Headphone/Audio Distribution System.
The HDS-16 Headphone/Audio Distribution System and HRM-16 Headphone/Audio Remote Mixer are the logical extension to Furman's very popular headphone amp/audio distribution lineup. These models are designed to function equally well for both live (in-ear or stage monitors) and studio applications, allowing greater flexibility and ease for both the user and the engineer.
The HDS-16/HRM-16 Headphone/Audio Distribution System cleanly routes 8 mono and 4 stereo signals to remote mixing locations via Centronics 50 pin cables. Up to eight HRM-16's can be connected directly or daisy chained to a single HDS-16, allowing as many as sixteen users (two per each HRM-16) to customize eight different mixes. A unique talkback system allows each user to communicate with other users and the main mixing location. Additionally, a SOLO system allows the engineer to mute all but one stereo send from the mix location -- very handy for reviewing recent takes or rough mixes. Additional HRM-16 features include local effects send/return, line out, overall bass/treble controls, talkback level, and a master level control.
The double rack-space HDS-16 provides full patching functions on its front panel via 1/4" and TT input jacks, and is intended to be installed at the mixing console location. The HDS-16 provides power and signal conditioning to drive the HRM-16 Remote Mixers. There is no power cord or wall wart required for the HRM-16's. In addition, it includes two 1/4" jacks for the two-way talkback functions, and a SOLO REMOTE switch with an indicator that allows muting of all but one stereo feed at all HRM-16's. This comes in handy for isolating tracks for critical listening without having each HRM-16 user turn down all but one channel. The SOLO function also includes a 1/4" jack so actuation can be done with a footswitch. Front panel indicators include POWER ON and SOLO ON. The rear panel includes six Centronics 50 pin connectors to link up to six HRM-16's (more if daisy chaining is used), and the standard Furman ON/OFF and GROUND LIFT switches.
The unique talkback system is extremely versatile. It can be configured two different ways by moving a jumper on the circuit board in the HDS-16. One way allows the talkback mic on each HRM-16 to be fed to all of the other HRM-16 units as well as the HDS-16. The other configuration allows communication to the HDS-16 only. This is particularly useful for stage use where the user's talkback mic should not feed into all of the monitors (including the user's own monitor).
The HRM-16 Remote Mixer may either attach to a mic stand with the included mic stand clip and hardware, or be placed on a table or shelf. The unit requires no external power, and allows full volume/low distortion headphone mixes to be created on the fly.
The eight mono and four stereo signals each have level controls. Each mono channel also has a pan control and an effects send control which feeds its own rear panel 1/4" send/return jacks; the affected signal is returned into the mix and controlled via a stereo effects return knob. Also on the rear panel of the HRM-16 is a mono line out 1/4" jack to drive stage or in-ear monitors, a jack for a talk-back footswitch, and two 50 pin Centronics connectors to allow daisy chaining of up to four HRM-16's.
Connecting HDS-16 and HRM-16's is easy, as each mixer is supplied with a 25-foot super-flexible interconnect cable which can easily be extended or routed through walls and daisy chained to other HRM-16s. Cable extenders and thru-wall installation kits are available as well (see below).
The HDS-16 and HRM-16 are sold separately."
Aloha
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Aaronw
- Moderator
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- Joined: Thu Sep 18, 2003 3:06 am
- Location: Music City
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There are many options for this now. Including the one Kendale posted.
The questions I have are:
1. How many different cue mixes do you need? Sounds like you can have up to 8 if you really wanted.
2. Stereo or Mono cue mixes?
3. And what types of music are you generally going to be doing. (eg: live drums, etc.)
4. Do you want it simple or complex for the clients?
The questions I have are:
1. How many different cue mixes do you need? Sounds like you can have up to 8 if you really wanted.
2. Stereo or Mono cue mixes?
3. And what types of music are you generally going to be doing. (eg: live drums, etc.)
4. Do you want it simple or complex for the clients?
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greeny
- Posts: 11
- Joined: Thu Nov 16, 2006 9:53 pm
- Location: manchester u.k.
multiple headphones in the studio help
thanks for the replys from both of you
i spoke to furman and they came up with a simular
solution .
i record mainly rock bands live e.g drums, bass, guitar and vocals
at once in three seperate rooms, i iwould like to give the members each
a stereo mix 4 in the vocal room 1 drum room up to five in the main live
room for different music situtions .
i would like to control the h/phone mixes from the control room if possible.
thanks greeny
i spoke to furman and they came up with a simular
solution .
i record mainly rock bands live e.g drums, bass, guitar and vocals
at once in three seperate rooms, i iwould like to give the members each
a stereo mix 4 in the vocal room 1 drum room up to five in the main live
room for different music situtions .
i would like to control the h/phone mixes from the control room if possible.
thanks greeny
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Sideshow
- Posts: 129
- Joined: Mon Jul 10, 2006 11:02 am
- Location: Blue Mountains, Australia
- Contact:
Behringer
Hi Greeny,
I found the Behringer 4 channel really awesome and inexpensive.
This allows up to 4 x channels with 3 out for each. (12 headphone outs)
I plan to use 1 in each room. I find that I can send all sorts of mixes to each and the user can control their own foldback /mix level.
I understand there is an advantage to centrally doing this but all I have to do is make sure they get both sends and show 'em their balance and eq knobs.
They all seem to love it - so far.
BUT, this means you are running 10 seperate sends to each room? A lot of extra cabling......
Here is the 4 channel -
http://www.behringer.com/HA4700/index.cfm?lang=ENG
Here is the 8 - don't own it myself and less control per channel - but worth a look...
http://www.behringer.com/HA8000/index.cfm?lang=ENG
Take Care
I found the Behringer 4 channel really awesome and inexpensive.
This allows up to 4 x channels with 3 out for each. (12 headphone outs)
I plan to use 1 in each room. I find that I can send all sorts of mixes to each and the user can control their own foldback /mix level.
I understand there is an advantage to centrally doing this but all I have to do is make sure they get both sends and show 'em their balance and eq knobs.
They all seem to love it - so far.
BUT, this means you are running 10 seperate sends to each room? A lot of extra cabling......
Here is the 4 channel -
http://www.behringer.com/HA4700/index.cfm?lang=ENG
Here is the 8 - don't own it myself and less control per channel - but worth a look...
http://www.behringer.com/HA8000/index.cfm?lang=ENG
Take Care
Sideshow
http://www.songcave.net
http://www.songcave.net
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Aaronw
- Moderator
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- Joined: Thu Sep 18, 2003 3:06 am
- Location: Music City
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Well, if all you need is a simple cue system, keep it simple. If you're planning to control all sends to the musicians (just like old school), use your (either phone out or aux sends) and send them to a power amp. (depending on how many cue mixes you actually want will determine how many amps you need).
Let's just say for a simple 2 separate mixes (mono). Use Aux sends 5 & 6 as your sends to a power amp. Some headphone boxes (basically a dummy box w/ a 1/4" connector and a volume pot) are either stereo or mono switchable.
On your wall plates in the tracking rooms, use Male panel mount XLR's (this way you don't plug in a mic into it). Have 2 of them. For Cue mix 1 & 2. Most headphone boxes have an input and output XLR connector. This is used for "daisy chaining" multiple boxes around the room with the use of a mic cable.
That's the simple version. I don't have time at the moment to draw it up, but I can probably give you a simple diagram if needed.
Let's just say for a simple 2 separate mixes (mono). Use Aux sends 5 & 6 as your sends to a power amp. Some headphone boxes (basically a dummy box w/ a 1/4" connector and a volume pot) are either stereo or mono switchable.
On your wall plates in the tracking rooms, use Male panel mount XLR's (this way you don't plug in a mic into it). Have 2 of them. For Cue mix 1 & 2. Most headphone boxes have an input and output XLR connector. This is used for "daisy chaining" multiple boxes around the room with the use of a mic cable.
That's the simple version. I don't have time at the moment to draw it up, but I can probably give you a simple diagram if needed.