Performing live with a Scarlett 6i6

[bestmanmusic]

I'm beginning to perform live and I was wondering what the best setup is running a Scarlett 6i6 to the house sound. I'm running MainStage 3 with live synths and a backing track off a MacBook Pro. (i.e. what would be the proper cables/cords, 1 or 2 DI's.)

[Hugh Robjohns]

Your 6i6 has electronically balanced line level outputs (albeit with a lower max output level than usual at +11dBu rather than +24dBu). It would be wise to protect them from phantom power from the FOH console, and that means a transformer isolator.

At this point you have two options: a line level box, like the ART Cleanbox2, or a passive DI like the Radial proDI. Other models and manufacturers are available.

Most house systems are set up to handle mic levels off the stage, so a DI box is the more universally practical option. Active DI boxes are generally more expensive than passive and offer no real advantage when used with something like the 6i6. The better passive DIs have better transformers, and thus better sound quality. I use Radial ProD2, which is a two channel unit.

As for cables... Ordinary Trs cables between 6i6 and DI boxes, and then the house sound XLRs from there.

H

[Sam Spoons]

The Orchid Dual Micro DI would do the job at a reasonable price.

[bestmanmusic]

Awesome! Thanks for advice. So, to be clear, I would need 2 tsr cables to go into 2 DI's (or 1 if it has dual input) for stereo output?

[Sam Spoons]

Yes, that's correct (and two XLR's from the DIs to the desk mic inputs) as Hugh says.

[Hugh Robjohns]

So, to be clear, I would need 2 tsr cables to go into 2 DI's (or 1 if it has dual input) for stereo output?

Having read the 6i6 handbook, I can confirm that it is safe to use ordinary (mono) unbalanced TS-to-TS guitar-type cables with the 6i6 outputs (some balanced outputs don't like unbalanced connections).

So I would recommended you buy two TS-TS cables, one for the left channel and one for the right, connected to the first two line outputs at the rear of your 6i6. The other ends plug into the instrument inputs of your DI boxes (or dual DI box).

The Orchid Dual DI mentioned above is a stunningly good active dual-channel DI, and it is stunningly good value. However it doesn't provide transformer isolation from the house PA system. 99 times out of 100, that really won't matter, and your 6i6 is effectively protected from phantom power by the electronics inside the box. However, in the event of a major fault with the PA gear -- that one time in 100 -- mains voltages could, theoretically, find their way back to your 6i6 with all the unpleasant results you can imagine!

A passive DI always uses an isolation transformer, which eradicates that kind of risk.

As I said, I generally use the Radial Pro D2, but it costs about £110. A cheaper alternative is the ART DPDB which is about £45 and has the extra versatility of adjustable input sensitivity.



http://artproaudio.com/art_products/audio_solutions/di_boxes...

H

[The Elf]

The Orchid Dual DI mentioned above is a stunningly good active dual-channel DI, and it is stunningly good value. However it doesn't provide transformer isolation from the house PA system.

Orchid do (or did?) make a dual channel 'Passive Transformer Isolated DI' - I recently bought one of these to sit between my stage mixer and FOH. Inputs are line level balanced jacks, outputs are mic level on XLR.

I don't see it on Orchid's web site, but you could have a chat with John and see if he can supply one.

[Hugh Robjohns]

John makes all sorts of wondrous things as one-off problem solvers, and they don't all appear as standard products on his web pages.

Always well worth a call to discuss ideas.

H

[bestmanmusic]

Huge help! Thanks so much for the info.

[Willpearson]

Is the DI in this situation solely to protect from phantom power? Two balanced line level signals running 4-5 metres straight into XR18 mic/line inputs should be OK right? Without a DI?

Kind of reluctant to get a stereo DI just for this reason.

Playing at the weekend, we used just a mono out from the 6i6 into a DI then into the XR18 - but we seemed to have a very low signal, meaning we had to turn it out on the desk creating hiss. Multiple possibilities here, that we're troubleshooting, but interesting to read that the outputs on the 6i6 are a bit quieter than usual line level.

[James Perrett]

Is the DI in this situation solely to protect from phantom power? Two balanced line level signals running 4-5 metres straight into XR18 mic/line inputs should be OK right? Without a DI?

The DI also reduces the level down to microphone level to match the other sources that are normally fed to a live mixer. If you are always going to be using the same setup you could just send a line level signal to the mixer but a DI is safest for the average gigging musician who might be using whatever the venue's own PA system happens to be.

[Dave Rowles]

Also bear in mind, if you've got your own PA, then you'll need the DIs and XLR cables.

If you're playing in venues, then most of them will probably have DIs you can use, and will definitely have XLR cables to use as well. I generally take 6 DIs to any gig I do with my rig, although I've got more should I need them.

[BigRedX]

I use the larger Scarlett 18i20 as my interface for playing gigs.

The input and output options are completely overkill for our needs - we only require stereo out for the computer backing and a 3rd mono out for the drummer's click, but in scored very heavily on two counts:

1. It was properly rack mountable. Previously I had a "half rack" Saffire interface but it was impossible to fit securely in a 1U rack space which meant it wasn't reliable enough to use live. It would come adrift from it's mounts and cables would become disconnected, which required fishing about in the back of the rack to fix which is not what you need on a dark stage when you have 10 minutes to set up.
2. Power is supplied via a standard IEC mains cable so not need to find room in the rack for another PSU lump and have to secure it from moving about.

The stereo outputs are send to the PA via an ART DTI box which provides isolation from phantom power and any other nasties that might be present. This also allows us the connect to the PA using standard XLR cables. I've never had problems with insufficient level. In fact the output volume of the Scarlet is current on about 2/3max as we've been asked to turn it down a couple of times and this setting seems to satisfy all the venues we've played at since 2019. The DTI also supplies jack outputs which we use on those occasions where the PA insist on using their own DI boxes.

Regarding the use of TR to TSR jacks we had a cross talk problem between outputs where the click track was breaking through at low volume on the stereo feed which was initially solved by making up a special lead for the click track feed that connected the TS of the TSR jack to the TR of the TR jack with no ground connection at the TR end. We've now gone totally balanced line for all our connections which as solved the cross-talk problem and eliminated the need for special cables.

HTH.