More people need to see this video. I spent hours and hours searching for a small mixer that had independent phantom power switches for each channel, because I was worried about this exact thing- a condenser/ribbon combo. But after going through dozens and dozens of listings a not finding one, I starting asking why that was.. so a little research later I finally found out that modern equipment has basically fixed this issue, which maybe explains the fact that any mixer under about 8-12 inputs usually just has one +48v for the entire board. And this video has put the last of my worries to rest, and I can go about ordering the mixer I actually need and can afford, rather than buying something I thought I needed and didn’t.
Also, many ribbon mics can be damaged by hot patching and by electrical outages while phantom power is engaged, or if +48V is sent through a miswired or an adapted or physically impaired cable. Active ribbon mics require and will not be damaged by+48V
I always have phantom turned off....so much that I always forget to turn it on and I'm momentarily wondering why I get no signal into my condensers. And happy birthday!
I’ve got one very cool 500 style module preamp from Danfield that has a phantom power lock-out Button! I just love that if I had an all my gear I’d be real happy. Also you can purchase the little in line preamps that protect ribbon mics from phantom power but then you have to deal with that preamp sandwich for me does color the mic in the undesirable fashion compared to passive.
From my understanding, many (most?) pro studios still connect the mic lines to a patchbay (and many/most of these are TRS style). I do not dissagree that it's a chancy thing to do - but it's worth noting that pros have been doing it this way for many years. Probably good to develop the habbit to not hot-patch in general...regardless of topology. Obviously, the safest approach would be not to tie mic lines into a TRS style patchbay. For me - I find the density of the TT patchbay too convienent to not use with mic lines...and I would never patch with the rig running in general. That said - the patchbay (for mics) would be the first thing I would remove if my studio was ever a shared/collab space...
Hi, I just watched your Video about the Komplete Audio 2 but i am very bad when it comes to hardware, sorry. I have two Yamaha HS 8 and I would like to know if I can connect them with the Kontakt Audio 2 Audiointerface. I would be very happy to receive an answer :D thank u
Oh sure, no worries connecting the pair of HS8 to the KA2. Just connect the two main outputs of the KA2 to the line inputs of the HS8's with either a TRS to TRS or TRS to XLR cables.
Always buying the cheapest mic cables I can find for my studio (around 7 bucks for 6 meter cable) and never had any problem, even comparing them with friend's 100$/3meter cable. No difference at all. So, I guess, with modern china, we can care less about ban wiring of the cheap cable.
I use a lot of Monoprice Premiere Series cable and its been fine as well. Although reading the reviews of their TRS to XLR cables, there are several mentions of the cables being wired incorrectly. That kinda scares me and makes me want to get a cable tester!
Just because you personally can’t tell the difference, doesn’t mean there isn’t a difference. If you’re happy with your results, great. But there is a reason commercial studios invest in high end wiring. Commercial studios have to remain commercially viable, so they’d have every incentive to get cheap cabling if there was no discernible difference. Clearly there are advantages to higher end wiring.
The mics are so close that we can’t tell the difference with both input gains turned up. When one mic is not engaged,we can still hear you thru the other one. So pfft..
More people need to see this video.
I spent hours and hours searching for a small mixer that had independent phantom power switches for each channel, because I was worried about this exact thing- a condenser/ribbon combo. But after going through dozens and dozens of listings a not finding one, I starting asking why that was.. so a little research later I finally found out that modern equipment has basically fixed this issue, which maybe explains the fact that any mixer under about 8-12 inputs usually just has one +48v for the entire board. And this video has put the last of my worries to rest, and I can go about ordering the mixer I actually need and can afford, rather than buying something I thought I needed and didn’t.
That's great to hear! Best of luck in your search for the right mixer!
I like the sound during the brief time using the ribbon mic.
Also, many ribbon mics can be damaged by hot patching and by electrical outages while phantom power is engaged, or if +48V is sent through a miswired or an adapted or physically impaired cable. Active ribbon mics require and will not be damaged by+48V
I always have phantom turned off....so much that I always forget to turn it on and I'm momentarily wondering why I get no signal into my condensers. And happy birthday!
LOL I find myself doing the same thing!
I’ve got one very cool 500 style module preamp from Danfield that has a phantom power lock-out Button! I just love that if I had an all my gear I’d be real happy. Also you can purchase the little in line preamps that protect ribbon mics from phantom power but then you have to deal with that preamp sandwich for me does color the mic in the undesirable fashion compared to passive.
thanks for the info..just wondering who makes the microphone stereo bar you have in the video?
From my understanding, many (most?) pro studios still connect the mic lines to a patchbay (and many/most of these are TRS style). I do not dissagree that it's a chancy thing to do - but it's worth noting that pros have been doing it this way for many years. Probably good to develop the habbit to not hot-patch in general...regardless of topology. Obviously, the safest approach would be not to tie mic lines into a TRS style patchbay. For me - I find the density of the TT patchbay too convienent to not use with mic lines...and I would never patch with the rig running in general. That said - the patchbay (for mics) would be the first thing I would remove if my studio was ever a shared/collab space...
Is there a danger in what I was told could be a difference between European pin/wiring of mic cables?
Man, that ribbon mic sounded good. Seriously.
One of my ribbon mic is active and needs 48V to operate.
Indeed, there are active ribbon mics out there. I was only aware of the one by Royer, but today Facebook served me an ad for one from AEA :)
Great comparison/review. When you turned on/off the 48v each time I turned down my amplifier. hahaha
Love your channel.
Hahaha, that's a good reflex to have 😁
Thanks so much!
Really appreciate these videos I really do learn a lot from them.
Thanks man, I really appreciate it!
Appreciate the explanation!
Hi, I just watched your Video about the Komplete Audio 2 but i am very bad when it comes to hardware, sorry. I have two Yamaha HS 8 and I would like to know if I can connect them with the Kontakt Audio 2 Audiointerface. I would be very happy to receive an answer :D thank u
Oh sure, no worries connecting the pair of HS8 to the KA2. Just connect the two main outputs of the KA2 to the line inputs of the HS8's with either a TRS to TRS or TRS to XLR cables.
@@YHRS thank you very very much, you got my sub 🙏🏼
That AKG Sounds good!
Very instructive video, thank you!
Interesting. thanks ✌🏼
In intro to tech class my teacher warned me about a pastor who was electrocuted by using a phantom condenser mic in a baptism.
That's why I don't baptise my microphones.
Always buying the cheapest mic cables I can find for my studio (around 7 bucks for 6 meter cable) and never had any problem, even comparing them with friend's 100$/3meter cable. No difference at all. So, I guess, with modern china, we can care less about ban wiring of the cheap cable.
I use a lot of Monoprice Premiere Series cable and its been fine as well. Although reading the reviews of their TRS to XLR cables, there are several mentions of the cables being wired incorrectly. That kinda scares me and makes me want to get a cable tester!
Just because you personally can’t tell the difference, doesn’t mean there isn’t a difference. If you’re happy with your results, great. But there is a reason commercial studios invest in high end wiring. Commercial studios have to remain commercially viable, so they’d have every incentive to get cheap cabling if there was no discernible difference. Clearly there are advantages to higher end wiring.
You're not concerned of speaking directly to the Fathead without filter ?
The mics are so close that we can’t tell the difference with both input gains turned up.
When one mic is not engaged,we can still hear you thru the other one. So pfft..
Did that affect the demonstration that phantom power didn't destroy or harm either microphone?
@@YHRS Well that person couldn’t hear the difference between the mics so… Thanks for your great exposition on PH power by the way!