Did they have mix engineers back in those days? Back then the process was more normally known as "balancing".

I don't even have a starting point for what it does, or what I'd do with it. But I suspect that if I did I would have managed to salvage a few more of the broken offerings I take in. :lol: You know the waveform view on your DAW or audio editor? Well that's pretty much an oscilloscope trace. A ...

Drew Stephenson wrote: ↑Fri May 02, 2025 1:25 pm Unfortunately no dice on the Zoom issue.

Then get a Zoom!

(The drivers for my Zoom interface are far less fussy than your Tascam drivers and will happily handle multiple sample rates as long as I'm not using its digital inputs)

a much cheaper Lambden Audio LA507 Toslink (which may be a risk?) That's the one to avoid in my experience. I had one that came with a Beyerdynamic digital microphone. The mic was fine when plugged directly into an AES input but didn't work when going through the convertor. The Neve/Audient ...

I think I'd prefer to hire a complete horn section to play together rather than individuals. Whenever I've recorded horns there has always been quite a bit of playing off each other. We are kind of lucky around here to have some decent horn players with experience playing in well known bands.

Still considering the Audient iD48 (as I like the ASP880 as said and can hear a difference with the Apollo) but realistically cant interface my Neve 1073 DPD digitally with that. Most audio interfaces with optical connections can run them in either ADAT or SPDIF mode. If the iD48 can do that then ...

The Tascam stuff that I've used (mainly the Model 16 mixer) has been very fussy about sample rates and the drivers are very primitive compared to anything else I've used. The Zoom and RME interfaces that I use seem to work with almost any combination of sample rate.

I have just filled it in. It is probably worth saying that this is a very quick, sensibly designed questionnaire which only takes a couple of minutes to fill in.

Martin Walker wrote: ↑Thu May 01, 2025 10:46 am I shall now look upon my Audient Mico in a slightly new light

They're good preamps - they've just let their marketing people get a little carried away recently...

One reason for my cynicism is that Audient seem to be clearly trumpeting their discrete op amp Class-A preamps https://audient.com/technology/mic-pre-technology/ yet the pictures here https://khronscave.blogspot.com/2021/02/66-audient-id22-teardown.html quite clearly show 5532 ICs behind the mic ...

gsc1ugs@gmail.com wrote: ↑Wed Apr 30, 2025 5:13 pm Ok looked all over this board could not find one thing... at a loss

Time to take it to someone who knows what they are doing. I know what I would do next but you need to know what you are doing to go any further with this.

So what exactly is the difference between this and a passive DI? The transformer ratio. A DI box will have a transformer with something like 10 times the number of turns on the primary compared to the secondary. The DTI has a transformer with the same number of turns on the primary and secondary.

Hugh Robjohns wrote: ↑Wed Apr 30, 2025 12:58 pm And the whole, "this is class-A so it must be better" mantra is complete bollarks and purely employed as a marketing ploy for the ignorant.

I just wrote and then deleted a reply that said much the same thing. No-one in their right mind would design a mic preamp that wasn't class A.

Reaper users have a reasonably good oscilloscope built in. Do we! and where is it? and here's me just about to go and buy something. :thumbup: I didn't know either, but I've just found the JS: Oscilloscope Meter plugin Seems a bit basic though, unless I've missed some controls. Check the blue ...

Oddly enough my lad has just bought himself a processor/motherboard combination with a PCI slot from Ebay. It was an Asus Prime Q270M with a seventh generation i7 processor.

I've offered him my old RME Hammerfall card but so far he is happy with his Zoom U-24 USB interface.

I imagine for the SSL's (their bigger desks like the 4000) they are probably biasing all opamps Class A and if they are SSL did not make a big deal about it. This could be wrong though so do not quote me on that. "Some will argue that the 4000 series’ all-discrete design and Class A VCA chip are t ...

Rigol and Siglent are moving or have moved all their current DSOs to 12 bit. That was done several years ago, and the difference is quite dramatic - without using any interpolation (i.e. smudging). Have you directly compared them to something like an 8 bit Keysight 'scope? To use an old computing ...

All the devices I see advertised have microphone / instrument inputs with level controls along with line inputs and line outputs. That's because they are relatively cheap to implement compared to the price that can be charged. In my experience the Behringer UCA type interfaces are just too limited ...

Actually, why can't I just get a PCIe to PCI adapter like this one. https://www.reichelt.de/de/de/shop/produkt/konverter_pcie_x1_karte_1_x_intern_pci_riser_asm1083-319186?PROVID=2788&gad_source=1&gad_campaignid=20983792034#closemodal This is less than €20. Will it not do the job? Are there any d ...

I don't know what it's like now, but I tried picoscope a few years back and was somewhat underwhelmed. It's only 8 bit resolution too. I was surprised to find just how many digital scopes from respected brands are 8 bits. The Keysight scopes that I used at work looked noticeably better than the ...

Reaper users have a reasonably good oscilloscope built in. I'm tempted by something like a Picoscope which aren't much more expensive than the one Dave linked to if you go for the basic model. Space is at a bit of a premium here and my conventional scope just takes up too much of it.

I'd always suggest going for RME for the interface - and then choose the convertors that you prefer. The Digiface USB isn't expensive and you can combine that with your existing ASP880 and then either add another ASP880 or something else to give a different flavour.

I've just obtained a simple clamp meter and can confirm that the A&H Saber desk is the biggest power draw in the studio that I've tested so far at around 1A which is as much as the rest of the studio combined with no audio playing. However, I haven't tested the MTR90 yet.

As I understand it, content ID tags are generated by record labels and stored by Google. But I’m not an expert. I think publishers as well as labels, but fundamentally it's a kind of 'invite only' scheme. Small independents don't get to play. I've had songs flagged that were released through CD B ...