As more churches add video to their worship services, there’s an increasing need to send audio from the mixing console to the camera. But don’t be tempted to just link the XLR line-level output of your console to the XLR inputs on the camera(s), because bad things can happen (as I’ll detail here).
And yes, there’s often need to feed the same audio to multiple cameras in different locations around the room. So how do we connect them all together?
It’s done with something called a press mult, which is an audio distribution box that takes a single line-level input from the mixing console and creates multiple (mult) isolated XLR mic-level outputs for all the members of the press. (Get it? Press mult?)
While you may not be sending audio to the various alphabet networks (NBC, ABC, CBS, etc.), the exact same principal applies to distributing audio to the video cameras in a sanctuary. And yes, you’ll probably want to send console audio to the video cameras at any special ceremonies or plays that also may be held at the church in addition to normal worship services.
Cost Vs Benefit
Quality press mult units, such as the Whirlwind PressMite, use battery or “wall-wart” power to create active isolation between a dozen outputs or more, as well as line-level thru and headphone amps. In all, the PressMite is a very sweet unit that I’ve used dozens of times.
However, it and all other models of this type can be a little pricey, costing about $1,000. That might be a bit much if the primary applications consist only of feeding audio to a video camera for a local church play or for the visiting Bishop doing a ribbon-cutting ceremony for a building expansion. However, they’re worth it if a church is adding video to a decent degree.
Press mults solve a lot of problems. Many video cameras don’t like line-level signal shoved into their XLR jacks. And even if they have a 20 dB pad on the inputs, I’ve found that many pro cameras will still clip with a live-level signal approaching 0 dB VU.
Plus the switching power supplies for video cameras are notoriously sensitive to grounding, often feeding their power supply hash back into your own sound system or other cameras on the “mult” creating ground loop hum and hash. So there is really a need for transformer isolation on each XLR output, which should also be dropped to a signal level of -20 to -40 dBU.
Another Way
Don’t fret if your church doesn’t have $1,000 to spend for the few times a year that a press mult might be needed, or for that matter, for feeding console audio to one or two cameras every week. I figured out another solution some 30 years ago while doing a play where a video guy showed up and asked for an XLR feed at the last minute. I tried coming out of the console’s aux output with a line-level signal, but not only did his camera audio distort, his camera’s switching power supply made my sound system hum and buzz.
So I had a brainstorm that a basic passive DI (direct) box hooked to an aux output of the console would provide the needed transformer isolation as well as the level drop. It worked perfectly that night, as well as on other gigs since then. Plus I figured out that multiple passive DI boxes can be linked together using TS (mono) cables to feed separate cameras. You can easily drive up to a dozen or more passive DIs such as the Whirlwind IMP2 without any problems.
So should you drop a grand on a “real” press mult? Yes, if you’re doing a gig that requires meeting the spec of a tech rider. However, the alternative presented here will work perfectly for any gig where there’s the need to send audio to a few cameras, or feed console audio to a camera for a one-off play or special ceremony.
And if nobody bothered to tell you that a press feed was required for the gig, just grab a passive DI box out of the equipment room and make a “quick press mult” in (literally) a minute. You’ll meet the need and amaze your audio buddies at the same time!
