MN> The best splitter
 MN> to use is commercially available (or you can build one) using Jensen
 MN> transformers for (passive) which are by far the most superior.
 RB> What are the Jensen Transformers?  Are they a 1:1 
 RB> isolation that can be hooked in parallel to an 
 RB> existing mic line?  Where would I get such a 
Jensen is a manufacturer of a variety of products, including (but not limited 
to) some of the both least artifact producing and highest cost small audio 
transformers.  A mic splitter would use a 3 winding transformer, typically 
150 ohms in and two 150 ohm outputs which split the power from the mic.  
This offers good ground loop isolation, some RF resistance (including stage 
lighting), and may help preserve CMRR of poor mic cables and snakes compared 
to a single long run.  It does decrease s/n at the board by reducing signal 
level 3 dB, though that matters more to a classical producer than most 
rock/pop acts who'd be running low gain or padding anyway.  The transformers 
introduce some harmonic distortion and response nonlinearity, and can 
saturate and overload.  Those factors are minimal with an excellent quality 
transformer, and severe with a cheap one.  
 RB> transformer and what would the cost be? 
About $5,000 for a 24 channel split box using top quality transfomers.  
That's enough in my book to wonder why not go one step further and switch to 
preamps on stage and fiber optic snakes.  A level range equivalent to 15 
through 140 dB SPL plus a little for mic sensitivity variation would be 
ideal.  Only 100 dB is practically acheivable, which means that three 
gain/pad ranges might be needed.  One would think that a 30-130 dB SPL would 
cover most shows, but +/- 10 dB from that should be practical to set on stage 
for some extremes, without need for much routine tweaking.  
Terry
--- Maximus 2.01wb
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