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I'm new to this forum (though I've been a reader for a while now). I've done my due digiligence and searched this topic a couple different ways, so I apologize if this is in a ny way redundant. I am the sole proprietor of a small mobile recording company and I'm now doing more and more gigs where I need to split 32 channels from the house. I'm looking to invest in my own splitter and I'd love some advice.
The last two gigs I've done were both with large isolated splitters: one that belonged to the monitor company and one that I rented independantly. In gig #1, we were on a 3-way split, with Mons getting the direct and myself and FOH on the Iso splits. In gig #2, the house had a hardwired split to FOH and mons built into the walls-- so i put my split between the wall and the monitor console, sending MONs the direct and using the ISO to record. In both cases, I had pretty substantial issues with buzzes that no matter what I tried (ground lifting/not, inline x-frmer barrels, etc) I could not get rid of.
Before I invest the money into a split of my own, I'm wondering if anyone has found any best practices to help avoid this issue. Here are some things I'm considering:
-- A few times there has been an undefeatable buzz on a really critical channel (i.e. Lead Vox) and I've taken a Whirlwind 1x2 splitter and split the microphone to the stage and to me directly. If I were to invest in a splitter, would it be wise for me to invest in something that can live onstage and bypass the house's own subsnake system? That way I'm essentially getting a split as close to the mic as possible... Has anyone done this? I could definitely see a venue being resistant to this. But if the client is paying for the recording...
--Are there other things that I should invest in first/simultaneously? i.e. isolation power transformers, etc.
--When recording a "band in a club" type of gig, how much are you typically splitting from the house and how much to you mic independantly specifically for records? One thing I've been wondering is whether, for smaller ensembles, I may be better off foregoing the use of a large format splitter and instead putting up some of my own mics for things and using the Whirlwind 1x2's to split what I need to split directly at the mics, before they even touch the house system.
Thanks in advance for your wisdom!