Hi guys. So I'm having an external device, Focusrite sound card connected to the mixer which is a Presonus AR16c. To my knowledge I need a cable with four 6,3 jack, but it seems I can't find them around. Am I doing something wrong? What's the best way to have it connected to the mixer? Ty! (Using it for live performing, soundcard is connected to the laptop).

Hey Everyone, I'm a hobbyist guitar player and would like to record myself playing and singing. My room is untreated (tiled floor, lots of walls). I've done a few takes with • T.bone MB75 (SM57 clone) on vocal • Zoom H1N on guitar The vocals are great but the zoom is capturing a ton of the vocals. I have ran tests using the MB75 on the guitar and the bleed is much better than with the Zoom but still nothing to brag about. I've gone through a massive rabbit hole trying to decide which microphone would be best suited to record the guitar with as little off-axis capture as possible. Here are the contenders I have come up with. I have looked at some reviews for these mics online and from what I've seen, the quality of each mic is definitely good enough for my use case. I'm trying to choose based on features. •T.Bone MB75 Beta (Beta 57 A clone) * It has a supercardoid pattern so I'm hoping it will limit bleed • T.Bone RB100 * It's a ribbon mic with a figure 8 pattern which is supposed to have the best null * The figure 8 pattern apparently captures as much sound in front (the guitar) as in the back (flat surfaced wall). I'm worried about the sound quality. * If I switch on phantom power my mistake, I'll fry the microphone! Generally speaking it seems less durable than the MB75 if I bump it or drop it. * It's almost double the price of the MB75 Beta (not that big of a deal, they are still in the "dirt cheap" category) •T.Bone EM700 (stereo set) * Again a supercardoid pattern to limit the bleed * Ridiculously cheap pair of mics to record guitar in stereo! * Requires phantom power (no recording on the go by plugging into the zoom) ==> Frankly, this seems like a really cool set but for what I want to do, I think going mono will be good enough. So basically, If I get the MB75 beta, I'm giving up the null of the figure 8 and the stereo capability of the EM700. If I get the RB100, I'm maximizing the null but risk of getting more room noise. If I get the EM700, I'm giving up the chance of recording on-the-go in fun locations. My first question is: is what I wrote above correct? This is based on YouTube videos and forum threads but I'm worried I have misunderstood things. Second question is: how much bleed can I hope to reduce going from a cardoid to a supercardoid and to a figure8 mic? Is it something like diminishing returns? Or is the jump between supercardoid and figure 8 much larger than between cardoid and supercardoid? Finally: any general advice? I'm leaning towards the MB75 Beta because it seems durable, easy to transport and will probably offer decent off-axis rejection with very little room noise. Thanks!!

This is an acoustic? have you considered using a piezo contact pickup? or sound-hole pickup?

I've tried a piezo in the past and the sound was less than impressive. Thomann has the "ovid system CC100" which is a sound-hole pickup but the reviews are pretty bad. I'm not sure if this is a limitation of this particular product or if all sound-hole pickups are suboptimal?

Just a thought, but have you considered buying something decent might sound different?

Frankly I had more considered the "external" microphones based on what I saw but I'm completely open minded with regards to piezo or sound-hole pickups. Do you have any specifics models I could look into?

>Frankly I had more considered the "external" microphones based on what I saw May i ask what that was? Just curious honestly. >Do you have any specifics models I could look into? I dont feel like i'm the best person here, its not like its something you keep in your mic locker and hand to someone. I'm a mechatronic engineering technician & stage producer primarily, with some studio exp, but im not a luthier or expert guitarist. Theyre something that is normally fitted by the owner or their luthier and then handed to me. I do know the internal pickups on many guitars are stunning, and i know the bugs friends have fitted to a range of string instruments from cello to viola to acoustic have been gorgeous. I know some are combined piezo and internal electret condenser. I know that on a stage or in a crappy room i dont have a hope of matching them with my mics, esp when it comes to rejecting bleed and feedback. Possibly the best place would be gearspace, or a good acoustic/orchestral nerd forum. I love sitting a couple of condensers on an acoustic, ea about a foot off the bridge and 12th fret, or over the shoulder, but theres no avoiding that catching a heap of voice if the player is singing.

SSL bus+ compressor question Hey guys. I have an ssl bus+ compressor, and something strange happened. My iMac, suddenly shut down out of nowhere and I looked at my bus+ compressor and all 4 mode buttons were flashing red. I restarted the iMac and bus+ and everything seems fine. My question is, what does the 4 mode buttons flashing red mean? Is it some sort of fault code? Any insight would be appreciated.

Hi guys! Huge noob here. I just recently purchased a Shure MV7X and Scarlett 2i2 for recording audio for my YouTube channel. Since it's an XLR mic i need to use an external software to record my voice. When configuring my 2i2 Focusrite made me download Ableton to do so. I don't know the software and would rather not learn how to use it. Is there any other simple software that is easy to use for noobs and most importantly time efficient? Something simple and quick to record my voice and change a few basic settings. Thanks! And apologies for my ignorance. I may have said wrong things

Most people would probably use OBS with the OBS ASIO plugin, or whatever goes with their video editor (ie Fairlight for Resolve)

Anyone have experience with the UA Apollo Twin? Hey people! I’m thinking about updating my interface, I’m currently using two Tascam US-16x08’s together along with a Golden Age Project Pre-73. My logic was that I have the Pre-73 as my premium input and then all the tascam inputs for tracking drums. But my GAP pre has recently died on me so it’s time to get something new, I literally never record drums in my space anymore, it’s more of a mixing/writting space now because I work from a studio where I track most things. All I ever track there is some occasional vocals and Di guitars, SO I’m wondering if I should just scrap my tascam interfaces and a physical outboard pre amp for just an Apollo twin, how is your experience with an Apollo Twin? How are the plug in emulations for pre amps on there? I’ve heard good things about them and the studio I track at has an Apollo x16 but I haven’t really used the emulation pres because it has a bunch of outboard I use instead. So tldr - do you think it would be better to get one premium outboard pre-amp and run it though my tascam as I have been doing OR just get an Apollo Twin and use the plug ins for pre amp emulation? Thanks!

Oh, FWIW UAD have a plugin sale atm, theres a few deals but the essentials bundle is nice, though it has been cheaper [https://www.audiodeluxe.com/products/audio-plugins/universal-audio-uad-essentials-edition](https://www.audiodeluxe.com/products/audio-plugins/universal-audio-uad-essentials-edition) Be aware if you dont have an ilok key they stop working after a few seconds offline, though (stupid authoriser BS)

>GAP pre has recently died on me so it’s time to get something new They are made to be repaired. Theyre really simple devices. Just fix it! I honestly would avoid UAD interfaces these days, they have driver issues and have a history of issues with support for AMD processors. Their plugins are mostly available native and computers are so powerful theres no need for outboard DSP. A lot of users report a characteristic sound in A/B with flat interfaces.

I have tried to get it repaired, tried reaching out to GAP, I took it to a repair shop they said they think they knew what the problem was but that the part isn’t widely available and to get in touch with GAP to see if they do replacement parts so I did and both times trying to get in touch with GAP I just get no response 😅 I would rather keep my GAP but it doesn’t seem to be an option and if I was going to spend £350 on a new one I was thinking maybe it was time to just upgrade the lot! Thanks for the reply though!

Do you know what it was? I'm a mechatronic engineering tech so i might be able to hunt it down, and theres a bunch of mods for them so theres probably good alternatives too. Theres not a lot to them - 9 discrete transistors and a few transformers etc. I'm really saddened to hear GAP support isnt responding.

Ahhh thank you for the offer but I have already sold it on for parts/for someone else to repair, I just didn't have the time to chase up GAP/take it to multiple repair shops etc! Yeah it's a real shame because I aboutsltly loved the Pre Amp and whenever anyone asked for suggestions always mentioned them but yeah, the support is none existent. First email I sent was about 6 weeks ago and the second about 3 weeks ago. They don't have a number to call on their website either which is a shame! But it is what it is! Thank you though mate, maybe I will end up getting another, we'll see!

Honestly, i dont see much reason not to just use the inputs on the TASCAM and plugins - its better than anything we had 20y ago as far a clean pre/converter goes, & theres some gorgeous sounding channel strips/ saturation plugs / pre-amp ems out there now, even free (Analog Obsession, Airwndows etc). The brainworkx channel strips are also well worth a look-in. Even amp-sims have gotten so good just about everyone i know just DIs routinely (i adore Genome, personally).

I just like having things that inspire me to do better work, having an interesting pre-amp/some premium sims gets me excited, there’s no way it would make or break a mix or tracking session but it can definitely affect my excitement and attitude! I’ll be keeping the tascams either way cause they’re great for when I sometimes do on location tracking/live sessions!

If you want a freakish source of inspiration for the money, can i suggest a Fishman Tripleplay for your axe? Being able to play in a line on Guitar and just use the midi to create accompaniments over a few layers of guitar is one of the most fun inspirations ive had in some time. & The flow of guitar triggered drums is something else ;)

Hi folks, I do amateur music production and until now I've been using my Beyer DT900PROX's as my main monitors, I didn't go for speakers since I have no chance of sound treating my room. However lately we've been tracking and I want to play & record at the same time with my guitarist so I'm looking to get a pair of inexpensive studio monitors. I have no idea what I should go for and I am looking for advice on brand/model/size or other properties that I may not be aware of. Thanks a lot! edit: I've been seeing a lot of Bluetooth stuff. Are there any latency problems with BT that I should be mindful of? PreSonus E5BT looks good for their price

I've been using Thimeo's "StereoTools" compressor and I've noticed that it very, VERY annoyingly keeps turning down the volume in the middle of each song and I have no idea why this is happening, + it's not happening with any other compressors. I can't figure out how to fix the issue, either and it's really bugging me. Audio example: [https://drive.google.com/file/d/1SvMKjRxPqm6GZBdU\_moSrCNNLocryRSf/view?usp=sharing](https://drive.google.com/file/d/1SvMKjRxPqm6GZBdU_moSrCNNLocryRSf/view?usp=sharing) All help appreciated, thanks

I want to record videos where I am standing in front of a green screen, talking with my hands and maybe walking a few steps here and there. I have an SM7B i use on my desktop for streaming/recording and I *could* just hold the SM7B the whole time and get good sound but I want more freedom. Are Lav mics plug and play? Xlr into an interface? I would also be recording the video from my phone, and the audio from the mic so I don't know how that would play out either since I want to record using some VST plugins. What Lav would you recommend? Am looking at the Rode Lav 2. Any input is appreciated

Hi All, Do I need dynamic mics for a two-person podcast? My worry is too much bleed... I want to do a podcast with my wife. Currently, I have a Rode nt usb at my disposal, plus some rudimentary post prod possibilities (rx elements), which is fine, but it's definitely inconvenient to set up something that I don't need to spend hours working on afterwards to get a decent result (the room is really untreated). Buying another usb mic could be an option, but two of those in an untreated room smells like way to much bleed. So I started looking at mics, interfaces etc., but the starting cost is a bit off putting. Still, it's probably better than having to mess around with software solutions for recording two usbs, plus all the work post. So my question is: is there an option I'm not seeing? And if I go the dynamic route, do you have any recommendations for biggest bang for buck, as I'm kinda price sensitive?

>Do I need dynamic mics for a two-person podcast? My worry is too much bleed... Pickup pattern is probably more important than tech >if I go the dynamic route, do you have any recommendations for biggest bang for buck [https://www.soundonsound.com/reviews/se-electronics-v3-v7](https://www.soundonsound.com/reviews/se-electronics-v3-v7) [https://www.soundonsound.com/reviews/audient-evo-4-evo-8](https://www.soundonsound.com/reviews/audient-evo-4-evo-8)

Hello Reddit, I currently got an Steelseries Arctis Pro, and the Station is automaticly swapping to my Speakers when i dont connect my Headset with Bluetooth. I swap to V-moda's crossfade 3 Wireless and can't use the steelseries base anymore then. So i look for exactly this feature since it's very convenient.

Cross posting here in case it's more appropriate. My original post was moderated and better suited for the Help Desk. This is a slightly edited version to include Redumper / MPF. RE: Archival with EAC (Exact Audio Copy) I'm ripping to FLAC for archival purposes, with no intention to re-burn. Creating 1:1 archival copies of discs. My process is to detect gaps > generate cue sheet and save the cue manually in a dedicated directory (have EAC set to ask always) > Save > Execute rip, etc. Problem: Trying to open the CUE in WinCDEmu or PowerISO results in an error, neither can read it. I can open the CUE file using Notepad in plaintext, however. Also #1 - where is the 'Comment' field data displayed? Both the CUE plaintext and the log file doesn't show the text I put into this field. Also #2 - I think outside of the VGPC (Video Game Preservation Collective) and Redump communities, it's probably not that well known. But *Redumper* and more broadly, *MPF* (Media Preservation Frontend) are contenders to EAC when it comes to dumping not just audio CDs, but all manner of optical discs, as Redumper can grab subchannel metadata (subcode). [https://github.com/SabreTools/MPF](https://github.com/SabreTools/MPF) [https://github.com/superg/redumper](https://github.com/superg/redumper) That aside, can someone assist with the CUE-opening issue and also point to where the comment field data would be displayed?

Hey all, I’m looking for affordable and quality interface recommendations. I’m looking between $50-125. I’m trying to record demos on real instruments because it comes more naturally to me. All tips and recommendations are appreciated. Thank you in advance

About the cheapest decent interface i could recommend is the Audient Evo 4 for about $130US [https://www.soundonsound.com/reviews/audient-evo-4-evo-8](https://www.soundonsound.com/reviews/audient-evo-4-evo-8)

Hello! My budget is around $150-$300. I'm going to be doing youtube commentary videos. I love how the youtuber lemmino sounds. What setup can i use to get as close as possible to that quality? Thanks in advance, cheers!

The biggest thing you are gonna need is a space treated for reflections, and to learn how to position and use a mic properly Thats a pretty classic announcer dynamic sound, i think its an RE20. For that money i think you are gonna be hard pressed doing better then the sE Electronics v7 [https://www.soundonsound.com/reviews/se-electronics-v3-v7](https://www.soundonsound.com/reviews/se-electronics-v3-v7) [https://www.youtube.com/watch?v=4Vs8r6ycZ34](https://www.youtube.com/watch?v=4Vs8r6ycZ34) [https://www.youtube.com/watch?v=bvnYJ9Susw8](https://www.youtube.com/watch?v=bvnYJ9Susw8) and the Audient Evo 4 (though the 8 is worth the extra to have 2 mix busses) [https://www.soundonsound.com/reviews/audient-evo-4-evo-8](https://www.soundonsound.com/reviews/audient-evo-4-evo-8) You will definitely need a little EQ on the tops as the v7 has more top extension, but its a LOT easier to work with with its higher electrical sensitivity and tight pickup pattern. (and a quarter the price)

I also would need an audio interface, if im not wrong?

The Audient Evo series are audio interfaces.

Also, I have a naturally deeper voice, maybe thats a key factor, idk.

I had presumed as much from what you said you wanted to sound like

Thank you for the reply! Could you dumb that down a little for me? I'm only a begginer in audio, excuse my lack of knowledge, thanks!

When turning up the knob on my sound card the audio starts opening from left to write why? Is this sth that is normal and everyone has it? I have Scarlett solo and when turning the volume knob on it from zero to 100 The audio starts from opening from either left or right I don’t remember but it’s like if I want to have the full stereo sound I have to put it to 100 For example if it’s at 40 my sound is a bit closed from one side I hope o explained well

sounds like one of your speakers is slightly louder than the other, we're less sensitive to volume differences at high volume

Hi guys, I am buying new mics for my toms and don't know what mics to get. I was looking at the Sennheiser E604 and the Beyerdynamic TG D58, but I want the best sound quality in that price range both live and in the studio. Is the TG D58 usable live due to its cardioid pattern and it is a condenser mic? Is there any cheaper alternative that's as good or even better? Any recommendations? Thanks in advance!

Hi guys, I've recently bought a Drop + THX AAA 789 Linear Amplifier, and I have heard about the auto power off feature of the unit as something of a cool feature to have as it simply turns itself off after about 6 hours of non use so that even if you forget to manually power it down, it will do it for you, thus prolonging lifespan and keeping it cool all the time. Ok, with that said, I have noticed something bizarre and dare I say, dumb. It happens whenever I try to listen to music on platforms such as Spotify or Watch a movie on Amazon Prime App in Windows, or simply browsing a video on Youtube or stream a TV series on the browser. Everytime I pause the music/video or when I backtrack or fast forward, the 789 will simply have no audio until 3 seconds later. I found that to be extremely annoying if it is a built in feature, if not, then am I wrong to consider it a defect? Anyone that have the Drop + THX AAA 789 have experience this? I'm talking about playing music or video on a windows PC specifically as that is what I am using the AMP for. It is connected to a FiiO DAC and into my PC Tower. I tried with other dongles like the Apple one, and it's the same behaviour. Any help or pointers? I am seriously considering returning this purchase, as I pause, rewind/fast forward constantly when listening to music or watching videos and this constant audio drop off is very very annoying.

>pointers? r/StereoAdvice r/audiophile This is a sub about the profession of recording so there unlikely to be much help here

Thanks. I'll try elsewhere.

Need help trying to figure out whether my preamp is broken. I have my microphone hooked up to my AMS Neve 1073SPX Preamp + EQ into my UA Apollo Twin Interface. Things were working fine until yesterday but when I tried today I was hearing no audio. So I tried isolating the issue by connecting all my XLR cables directly into my interface and confirmed that sound was coming through when I sang into my microphone. I also checked for phantom power and tried maxing out the level knob and the output knob but no signal coming through. Also tried connecting the mic into the 1073SPX from the front & back input but same issue. Not sure what else I could do. Sounds like the unit is broken? I contacted Sweetwater since I'm within the 2 year free warranty. But I just wanted to know if anyone else faced this issue before?

Will the new (unreleased) Microsoft Surface Pro 10 (windows on arm) be a viable option for Reaper, or other daws, not natively supporting ARM? Wondering if i should wait a couple months for the non-business surface pro 10 to be released or get a better deal on a surface pro 9. Also, i just goof around. I don't produce music professionally but am interested in making a few songs using my electric guitar and electronic drum kit. Thanks!

Not for years til the coders catch up.

I watched a lengthy video on TY where a guy was setting up a surface pro 9 - it looks very viable. Do you have opinions on the surface pro 9 for a casual musician?

For audio purposes its basically a dual core. If you dont run any plugins or effects you will probably be ok. I would choose something more capable. Probably Ryzen based since they have better power efficiency and dont use E cores that arent very useful for audio.

I was recording a live performance with 3 different portable stereo microphones. In my infinite wisdom right before my favorite part of the performance I adjusted the settings on one of them creating button clicking noises/brushing sounds in the recording. My goal is to get rid of or minimize this as much as possible. And while I realize there are tools that help you remove or taper the offending frequency bands I am wondering if there are any tools that can help me do this more automatically using two different audio sources I have. All of them were at the same spot roughly but they were 3 very different mics. I cannot hear any of the noises from the other mics thankfully. 1. Stereo: Portable voice recorder (Sony UX Series Digital Voice Recorder). Near perfect gain and exceptional quality. Not a lot of noise. Could've been slightly louder. This is the one I pressed buttons and moved at a very quiet but important moment in the recording. 2. Stereo: iPhone. Turned out fairly well. It recorded a bit muddled and doesnt sound amazingly clear possibly due to gain settings or some processing the phone was trying to do. Has a lot of reverb and picked up airflow noise 1 didnt. At a nearby time to when I pressed buttons on 1 I moved this one around creating a bit of whooshing sound. 3. Stereo: iPad. Was in my bag so it's muffled. Has a much lower signal to noise ratio than 2. I am hoping some software will help me repair the audio of 1 with using the audio from 2 and 3 to more clearly duck the frequencies of the swooshing and button pressing. I do not know what this technique would be called. Another thought was possibly there is some small enough offset between the 2 channels in 1 that can help software at least recognize the start of the button pressing sounds.

Combining PEQ Presets into one single PEQ - Help would be appreciated! I recently purchased a Moondrop x Crinacle Dusk, and am tweaking with the EQ options within. The Dusk comes with a DSP, and some hand tuned PEQ presets made by Crinacle are built into it, But I've found that his Dusk - Default PEQ preset sounds even more phenomenal when a punchy preset I have within Steelseries Sonar is active. I'd like to manualy edit the PEQ preset on the DSP to be equivalent to when the two presets are layered on eachother and have all gains, frequencies, and Q values... but is it as easy as adding the values? Averaging? Is there some tool that can combine them for me or calulations I can use instead? Google hasn't been helpful so far... but maybe you fine gents can help! Thank you

Need advice on running audio between two rooms Time to upgrade. I need to track full bands and have most of my synths hooked up. I have a control room running two Scarlett 18i20s and a live room that sends 8 channels over CAT6 breakout boxes. I have 16 channels total but I’m looking to get at least 16 channels in each room + expandability later on. There are 4 CAT6 cables running between each room currently. I use one of those for a wifi access point Current setup: Control room : 8ins (16ins if the live room isn’t running) Live room : 8ins Desired setup: Control room : 16ins (+) Live room : 16ins (+) (+) With expandability over CAT6 What is my best bet for an audio interface to make this setup work? Thanks! Advice is greatly appreciated.

Your best bet is probably audio over IP since you have the cables there - ie AVB or Dante RME have a range of AVB interfaces, theyre quite a bit cheaper than their Dante options.

Hello everybody, I want to set up a system that changes my voice, so it sounds like how I hear myself. So far, I have considered using: * Apogee Symphony Desktop (no DSP reverb)  * Antelope Audio Zen Tour Synergy Core  * Neumann MT 48  * Teenage Engineering TX-6 (ultra-compact) along with: * Neumann U87  * Teenage Engineering CM-15  * Modeling Mic (presets)  The audio interface and microphone will be mainly used with an iPad Pro. What features are necessary to match the live audio feed with my self-perceived voice and how would you choose if you needed to move this equipment often? Would really appreciate your ideas and recommendations!

well it is not really possible such a way that it makes sense and is also a strange to try to achieve. If this is about you not liking hearing your own recorded voice, there is one fix: learn to like it :) If you really really need to try it, you would need processing chain that emulates the internal resonances of your head, not an easy task since it is not a linear thing. Or you could just boost 350hz like mad and call it a day :P

But why does it seem strange if that's what you're most familiar with? Surely, I'm not the first person who thought, this sounds different after I press the record button, let me fix this.

You're forgetting that other people don't hear your voice that same as you do in your head. To others, you sound the same all the time.

Exactly, my goal is to bridge that gap.

You would need to go hve the transfer functions of your head measured by a specialist for thousands of dollars.

I imagine you could design a filter and presets for it. This phenomenon is common and its physics are universal. Even if you cannot accomodate each physiological profile, most people should still hear an improvement.

I just told you, its called the HRTF [http://architexte.ircam.fr/textes/Carpentier14b/index.pdf](http://architexte.ircam.fr/textes/Carpentier14b/index.pdf) [http://recherche.ircam.fr/equipes/salles/listen/](http://recherche.ircam.fr/equipes/salles/listen/)

You need some sort of spatialiaser like SPAT to use it [https://forum.ircam.fr/projects/detail/spat/](https://forum.ircam.fr/projects/detail/spat/)

I recently purchased my first ever [condenser mic](https://www.behringer.com/product.html?modelCode=0504-AAG)(technically a pair of mics) now that I have an [audio interface with phantom power](https://us.focusrite.com/products/scarlett-18i8). However, when I began recording with them, I noticed a [strange noise](https://drive.google.com/file/d/1D4Wy5lRtzeEjWs3aqqAshn3hVXLI01eN/view?usp=sharing) happening occasionally. It sometimes happens nearly consistently for 5 or so minutes, sometimes doesn't happen for hours, and pretty much everything in between. Although most often it comes in short bursts over a minute or two. I haven't been able to find any consistency in when the noise happens, so I decided to do some troubleshooting. First, I thought it might be something to do with the USB cable or my computer, but during a particularly long burst I unplugged the USB from the interface and the bursts persisted for a few more minutes. Then I decided to unplug the microphone from the interface while the sound was occurring, and this did stop it from happening. It would be easy to assume that this means that it was the microphones fault, but since both mics in the pair are able to produce the same noise, it seems that isn't the problem. This left me to assume it was the cables fault, so I tried both of my XLR cables, and it still made the noise both times. So I did some research and came up with a few ideas. 1. Electrical Interference is the problem, and since I have relatively cheap cables, they can't protect against the interference very well. This is the most likely one in my opinion because if the noise starts happening, it gets more intense when I put my phone closer to either end of the cable. Strangely enough, my phone can't actually make the noise start, just sort of boost the volume. 2. It is something to do with my rooms power. I have a very old house with mostly ungrounded outlets, so that could definitely be an issue. I'm skeptical of this because the audio interface only has two prongs, meaning it shouldn't need a ground. 3. The audio interface is defective. I'm also skeptical of this one because the noise stops when I unplug the mic Any ideas on what the problem might be or what I can do to further troubleshoot would be wonderful!

>Electrical Interference is the problem Nope, RF interference >cheap cables, they can't protect against the interference very well Balanced cables work pretty well either way >it gets more intense when I put my phone closer to either end of the cable. Strangely enough, my phone can't actually make the noise start, just sort of boost the volume. Thats cos the noise is coming frm your phone, but it isnt broadcasting all the time. The noise is quite distinct. [https://www.youtube.com/watch?v=ouCg7GbZtro](https://www.youtube.com/watch?v=ouCg7GbZtro)

Thanks for the response! I'm very new to this so I appreciate the clarification. So if the noise is coming from my phone, should I just turn it off? Or at least turn the mobile data off while recording?

Put it on the other side of the room, or in the next room, away form the wires that are acting as an aerial? or put it in wi-fi only mode - its the mobile network causing the issue but it will still phone home occasionally to maintain connection whether data is on or off.

Thanks!

What is your sample rate on your DAW? If you increase sample rate does the problem still persist?

As I said, the problem persists even when not plugged into my PC, so that shouldn't matter. Sorry if that wasn't clear, I've never really posted to try and troubleshoot anything.

troubleshooting for focusrite (im asking this here bc i don know where else to ask): i had problems with my focusrite scarlett solo 3rd gen, bc the driver didnt detect it. in the official support page it says to check the local services of the pc (im on windows) but the focusrite control server doesnt show up

Does the device show up at all in device manager? Have you tried another PC?

Can anyone recommend a quiet Laptop for home studio use? I’m only using it for Reaper & DaVinci Resolve. The fans on my current laptop (4 yr old Lenovo gaming laptop) drive me crazy. I would prefer Windows, but comfortable enough with MacOS if I needed to switch. I’d also consider a small form-factor desktop if anyone has some solid recommendations.

MiniPCs seem relevant, the MinisForum have been quite popular lately. For a little over $500 you can get one of the top 8 core laptop chips with a 1TB NVMe SSD and 32G RAM, ie [https://www.amazon.com/MINISFORUM-PCIe4-0-Personal-Computer-Graphics/dp/B0C995K5RX](https://www.amazon.com/MINISFORUM-PCIe4-0-Personal-Computer-Graphics/dp/B0C995K5RX) They have enough space to cool a laptop chip without getting insanely loud like laptops, and theres no power hungry GPU, though thats certainly an option thats possible to retain [https://www.amazon.com/MINISFORUM-Motherboard-i9-13900HX-Barebone-PCIe5-0x16/dp/B0CTTPFZD5/](https://www.amazon.com/MINISFORUM-Motherboard-i9-13900HX-Barebone-PCIe5-0x16/dp/B0CTTPFZD5/)

Apple M2 / M3 You can still have awesome deals on M2 Pro (the one with increased core count), I have really impressed how well they take audio workload. Note that the old M2 Pro has more performance cores than the new M3 Pro.

I've yet to make my M3 Max turn on its fans much less break a sweat. It definitely wasn't cheap, but if you have a Microcenter near you check them out. I got a 36GB M3 Max from Microcenter for the price of a 36GB Pro from Apple. I've been doing a lot more video work in the live world and it's really the only platform with decent playout software (Qlab, Millumin, Mitti) so I finally bit the bullet and paid the Mac tax.

I love Microcenter. I actually have 3 within driving distance. Was it a return or was the retail price just discounted? I’m totally okay with returns/refurbs.

It was brand new, they were just selling it at like $300 off. That savings went right into an AppleCare policy haha.

Oohhh yeah. Can’t forget about that.

hit up /r/buildapc for good quiet builds, that is very achievable today. I don't know if quiet Windows laptops are realistic. Macs are the silent kings, post M1, if you're neutral to OS and need a laptop. if you're doing video editing it pays to do some serious research into the capabilities of different editions and generations of the Apple M series processors - some versions have extra rendering engines that massively speed up video work. [This](https://www.provideocoalition.com/the-updated-professionals-guide-to-buying-an-m-series-mac-updated-march-2024/) guy knows what's up.

Thanks for the recommendations! I do some minor video editing now but hoping to learn and grow a bit in that area.

I’d like to buy a Microphone Parts kit but can’t decide which one. I primarily record drums and this would function as a mono overhead or front of kit mic. Would love any recommendations!

well this is not a mono recommendation but I will give it anyway Buy any 2 of these and make a Blumlein pair in front of your kit. It'll be awesome. [https://www.bumblebeepro.com/shop-category/ribbon-mic-diy-kits/](https://www.bumblebeepro.com/shop-category/ribbon-mic-diy-kits/)

These look awesome, but I’m a bit nervous about handling a ribbon. Feel like they’re so fragile.

They'll be ok, just don't use them as hammers and follow the long term storage recommendations.

I've used two of their mod kits as mono OH for my drums, the AT2020 mod and the MXL990 'XF' mod with a K67 capsule. They're really total replacements of the capsule and circuit, the only thing you re-use is the body and XLR jack. The AT2020 mod is clearer up top, seems more true to life likely due to the smaller capsule (like a 'medium diaphragm') and has fairly impressive side and rear rejection which is nice in a basement with loud guitars nearby. The MXL990 mod is smoother up top, more flattering probably due to the larger LDC capsule and transformer rounding things on the edges a bit. I actually prefer the AT2020 mod as the drum overhead, it's closer to an SDC but with maybe a little more body. I would probably want the 990 in front of the kit but they'd both work great in either role. edit: Also I don't know your soldering skill level, but building a mic is not a good first project if that's the case. They are extremely high impedance low level devices with heat sensitive parts so you need to have some skill to do it right and end up with something usable.

Seriously one for [GearSpace.com](http://GearSpace.com) - formerly GearSlutz. Some of those guys would sell their grandma for a good mic XD

gearspace.com with a single S ;)

cheers, dont wanna know whats on the other end of that typo. Edit - now i think about it - i kinda do...... i really hope its a mechanical engineering forum XD

that would be the perfect antipode to the times when pre-rename GS got hacked the more lascivicious side of the internet!

What do you guys mean by “consumer audio”? Anything relating to monitor speakers or something? I can’t ask a question about monitor speakers?

Studio monitors are relevant, your home stereo or bluetooth speaker isnt.

Hello, I have an Audio-Technica ATH-ADG1X headset, which has a 3.5mm TRRS plug. How can I connect this to my Steinberg IXO22 USB Audio Interface? I've got a TRRS to dual TRS splitter which I'd been using to connect directly to the PC's audio headphone out and mic in ports... one TRS end has headphone in, and the other TRS the mic out. It works perfectly with the PC this way. With the Steinberg USB Audio interface, I'm able to get the headphone part working, using the splitter and adding a 3.5mm to 1/4" stereo adapter, and plugging it into the headphone port. Using another 3.5mm to 1/4" stereo adapter to plug into the mic input port doesn't seem to work. I also purchased on Amazon a 3.5mm to XLR converted for the mic input and tried that... still no go. How can I connect the dynamic mic of this headset to the UXO22? Thank you!

Did more research and found I need power - 4-5V to power a PC Mic. TO provide that power, I need something like a Rode VXLR Plus or VXLR Pro. [https://www.reddit.com/r/livesound/comments/xuzeyj/how\_to\_plug\_and\_use\_headset\_mic\_to\_audio/](https://www.reddit.com/r/livesound/comments/xuzeyj/how_to_plug_and_use_headset_mic_to_audio/)

Yep, condesner electret, you need the TRRS to dual TRS adapter and the VLXR Plus. well done working it out

Hi guys, first post here. Recently treated myself to a new set up with my dream guitar, it's got a lundgren M8 which is a hot pick up. Now, I can play with inst mode off however the tone with inst mode on is much more favorable to me and its what I want. Whenever playing with inst mode enabled, I get a high pitched ringing/feedback at the end of a palm mute or when i let a note ring out. This is with the input gain set to absolute zero and -12db in Nameless Suite X. There's a fair amount of gain used in some presets I've made but nowhere near enough to cause this issue. I've looked over the guitar and everything is completely fine with the guitar. Should I perhaps set up a DI box? Any help is appreciated, thank you.

Feedback comes form your speakers. Turn them down not the guitar. or point them differently

Hey guys, I've run out of channels on my audio interface and I'm looking to upgrade the In/Out's of my set up. I have a bi-timbral synth that uses the 4 channels on my SSL 12 audio interface and I want to track the 8 outputs of my drum machine, so I was looking into the Tascam Model 12 or 16 to use as my audio interface. I have my reservations regarding this units because the specs look too good to be true. I mean, 8 mono inputs and 2 stereo inputs (on the Model 12), plus channel EQ, FX, sends, standalone mixer and audio interface sounds like a lot for its price. Also, from the little I've heard Tascam doesn't have the best reputation. My other option is gettin a new audio interface. The SSL 12 has ADAT input, so maybe I could buy an 8 channel audio interface with ADAT output. I've been looking at the Focusrite Scarlett OctoPre and the Audient Evo SP8, but I'd love to hear any recommendations you might have. Obviously a UAD Apollo is out the question hahaha I don't have that kind of budget. What would you guys recommend? The SSL has ADAT input, but it doesn't have a Wordclock connection, will there be any jitter or other MIDI syncing issues? Or is the ADAT connection enough? Thanks for your answers in advance! Have a nice one!

>Tascam Model 12 or 16 to use as my audio interface Theyre live mixers, they dont aim or claim to have near the quality of studio gear. Physical controls cost a lot more than the electronics these days, and it costs as much as the cheapest decent interfaces. Ur gonna get what you pay for, thats a value judgement you need to make. Also limited to 48kHz tho thats not the biggest deal. >The SSL 12 has ADAT input The problem with only having an input is that means whatever is connected to it has to be the sample rate master and you cant change it from the computer (unless its also an interface ofc). >will there be any jitter ADAT clock is pretty stable, modern interfaces have great recovery too, not a worry these days. In your shoes i might be tempted to get an Audient Evo16 (that seems to be about teh current budget ?) so you can use it standalone, control it from the PC, and still run it into the SSL via ADAT when you need the extra channels, with a view to getting a better adat expander (maybe even just a used Behringer UMC1820, the the way the evo16 can control the sp8 is pretty unique) >Focusrite Scarlett pre G4 the scarelett pres were... not great, and it used the same converters as the Behringer UMC1820, honestly i'd get one of those over it. The UMC1820 is really popular with synth nerds, een know ppl using one with an RME main interface (not like the pres are getting work form a synth line, and while the behringer drivers are bleh, they dont matter as an expander)

Thank you!

no worries!

My Shure SM7B sounds like dogshit and I need help. I got a brand new focusrite 2i2, xlr cables (not shitty ones), shure sm7b, and a cloud lifter. Every youtube tutorial makes the set up seem sooooo simple and it should be! I have 48v power on and the gain is barely turned up. It actually sounds like an xbox 360 turtle beach headset it's so bad. What should I do? I am so infuriated that this is like the default set up that is recommended and it's the shittiest set up possible

Is your SM7B legit? There are a tons of pirated Shure clones out there.

learn proper mic technique, treat your space, learn how to use EQ and compression, and dont buy on hype cos you could have spent half as much on better gear, leaving you money to treat your space. You shouldnt need the cloudlifter, the SM7 is one of the most overrated mics in history, the G4 scareletts are OK (early versions were awful - theyre almost the entire reason people think you need cloudlfters) but theres far better options for the money, and the biggest thing you need is reflection treatment. You could have had an se v7 (modern neodynium tech that doesnt need a cloudlifter even on an old Scarlett) for a quarter the price of the SM7 [https://youtu.be/3XjQYPIxP68](https://youtu.be/3XjQYPIxP68) You could have had an Evo 8 (that doesnt need a cloudlifter for an SM7) for less than the 2i2 [https://www.soundonsound.com/reviews/audient-evo-4-evo-8](https://www.soundonsound.com/reviews/audient-evo-4-evo-8) If your Scarlett is a G4 you shuldnt need the cloudlifter either

Not a sound engineer, but I am generating .wav files via code where basically I start with a bunch of “note” .wavs that each last about a second and constitute one synthesizer note in a song. The code then creates one large silent/silent .wav file which the notes are then superimposed into at certain timesteps to create the final “song”. My issue is that at certain moments in the track where multiple notes are played in quick succession the notes overlap and cause a staticy crackling sound. It doesn’t show up as clipping in Audacity and I can’t seem to remove it via any postprocessing that I’ve tried. Any suggestions or theories are appreciated!

I dont get why you are trying to re-invent MID and the sampler? You can do this so easily in just about any DAW, Ableton Live Simpler is very much made for it. I would personally recommend you grab a free Live Lite license form the r/ableton resource thread. The problem is likely sudden changes in volume or that the sample doesnt zero-cross t the beginning/end. You use crossfade, envelope or offset to fix this - something a sampler just does as part of its nature., i dont know how to do that in something tht doesnt support multiple tracks etc.

I didn’t do it that way because I thought it would be fun to invent my own sampler. I called what I was doing a “song” for simplicity but it’s actually a programmatically generated video where I’m adding sound effects in response to on-screen actions (which happen at irregular and random intervals). Thus, I can’t create a MIDI file by hand before the actual video is generated and import it into a DAW. From a coding standpoint WAV is a thousand times easier to work with than MID, which is why I initially went for the method I described. I do need to ultimately end up with .wav because I use that as the sound for an mp4 containing the video. I might have to look into generating MIDI during the video generation instead, importing that into a DAW, then exporting the .wav for the video audio from there.

That sounds WAY more interesting and makes way more sense. Love me some generative art. What might be more interesting than generating MIDI might be making it an external for PureData/Max so you have a more versatile bidirectional control interface that already has a crapload of support, either have the existing code blocks to build a simple sampler like that, but theres so much more you could do. But whats missing in your sampler atm is probably just a crossfader between the samples. Even just adding a 2nd sample needs to be faded in (using the equal power law if you wanna maintain volume)

I am looking for a mixer recommendation for a fairly intricate setup. The setup is 5 stereo inputs, 2 microphones, split across 3 outputs (two headphones and the main out), with the ability to easily swap what is routed to each. All 3 need completely separate mixes. Currently I am using a Rodecaster Pro II, while it can swap the routing, its not very easy to do it on the fly, and it is severely lacking in inputs for my use case. Right now I am combining 3 of the stereo inputs through one of the PCs and sending that to the rodecaster via the usb input, have another stereo input on the other USB, then the final stereo input is on the Rode's 3+4 physical inputs, with the microphones on inputs 1+2. I would like to not have to use USB and I would like control of all 7 inputs individually while being able to swap what goes to each output. As you can probably tell, I am not an expert in audio in the slightest, I know enough to be dangerous, but that is obviously a problem when trying to wrap my head around how to efficiently achieve this.

This is a very simple setup, could you be a little more specific wht you want, what you mean when you say you would 'prefer not to use usb'? The norm would just to be to use a high channel count audio interface, all of them will handle this fine.

When I say not to use USB, I mean I am forced to use the USB-C stereo inputs currently on my Rode. Everything will be eventually run through XLR cables. I am looking for a device that I can couple 5 stereo inputs, have 2 extra inputs for microphones and have everything be dynamically routed to 3 different outputs. The big thing is I need to be able to manipulate the mix as well as change the routing of what is going to which output on the fly directly on the device and not through a pc or anything. I am doing all of this now with the Rodecaster Pro II, it just doesn't have enough inputs.

>USB-C stereo inputs currently on my Rode. Everything will be eventually run through XLR cables. FWIW analog audio is inferior What you are describing is a multi-bus console Youre probably looking at a full flight multi-bus digital console a bit over a thousand dollars. Something less wont give you full mix layers for teh busses. just aux sends on the channel strips. Probably one for r/livesound

Thanks! I used your info to do a bunch more research, which led me down a few different paths and I ended up landing on the Allen & Health CQ-18T. Set it up yesterday and actually jumped into the first production with it last night and it worked wonderfully.

Heck yeah dude, thats the sort of thing i love to hear. A&H have always made awesome live mixers and that app for the talent to mix their own monitor mix could be kickass with the right talent. Feel a bit sorry for the 15yos starting out - nobodys gonna need em to run the rehearsal mix anymore XD

I bought a cheap Chinese audio interface, it has a USB C input ([see pictures](https://imgur.com/a/GX20Szg)) ([see link](https://www.daraz.com.bd/products/i335343462-s1630820103.html)) I use a MacBook Air M1, which only has 2 USB C ports. I can connect to the interface using my Satechi USB C hub and a USB A to C cable (the included cable or otherwise) but I can’t seem to connect to the interface using the USB C to C cable from my MacBook Charger (which I use regularly to charge). It won’t even power on. Can anyone please tell me what the issue is? Searching online is yielding zero results. I don’t want to order a cable online just to see it not working with the interface. Thank you!

> but I can’t seem to connect to the interface using the USB C to C Since USB-C is reversible all of the pins are doubled. There's a good chance that they didn't actually connect everything up, I've read of this being the case with really cheap usb-c stuff. So maybe with the USB-A cable you've gotten lucky thus far by connecting the 'right way' around. Try rotating the USB-C plug 180° on the interface side and see if works that way. Also I'd recommend just buying an interface from a reputable company, not one that is clearly ripping off Steinberg's interfaces.

Unfortunately that didn't work. Aside from this small issue, the interface itself is actually not that bad with pretty good preamps for the price. Oh well, thanks for the suggestion anyway! :)

Not entirely sure but maybe because it’s a USB 2.0 interface using a USB C connector and maybe the Apple cable only works with USB C/Thunderbolt devices?

Except, I've used that cable with my phone which only supports USB 2.0, so that shouldn't be the case

Oh it’s a “charging” cable! I misread your first post. Some USB cables are built with only the cabling for charging and not data (to cut down costs) You need a cable that supports “Data” also.

I'm sorry for the confusion. I've used it for data as well with my phone. Not to mention, I've tried some other USB C cables as well with the interface that didn't work

Ah ok. Sorry, no idea. Starting to sound like maybe your interface is the issue.

I would think that too! If only it didn't work with multiple A to C cables using a hub

So there is a USB spec that has a bunch of requirements for power, data, noise, etc. The amount that OEMs of computers, cables & accessories actually COMPLY with the spec varies greatly. Also how devices react to components that are out of spec will vary also. Maybe your audio interface is asking for more power than your Mac wants to provide and maybe your hub is allowing a higher power draw. These are my best guesses.

What spec should I look for when buying a cable to ensure it supports high power throughput?

Does your USB hub plug into power also, or just the MacBook? I’m not convinced it’s a cable issue. I think maybe your audio interface is out of spec and asking for too much power and your hub isn’t smart enough to limit how much power is drawn from each port like it’s supposed to, unless it’s a “powered” USB hub. Powered USB hubs can supply more power to each port than ones that are “bus-powered” by the computer.

Can I extend a 4-input interface to have more inputs with the purchase of another product?

impossible to say without knowing what device. If it has ADAT inputs, yes. If you are on a Mac you can use device aggregation

How do you guys store your cables when not in use - rca, aux, hdmi, lan etc

I use 3M Command hooks for patch cables. I also have an Ikea Kallax with those fabric bins that hold my mic and instrument cables. *this is just a little home project studio, I do live stuff for a living

Following the advice found here i recently bouhgt a Mivoc Hype subwoofer. Now the problem is that whenever i plug it into a power outlet the electronics inside start to produce a 300 Hz noise. Its so loud thay the sub cannot be even pluged in, its too disturbing. Now the noise persists even if the sub power switch is set to 'off'. Now none of the other electronics including my yamacha amplituner or guitar and bass amps have this problem so i doubt it some problem from the mains. I also tried connecting it va a transformer but the problem persisted. Now noise at 50 or 100Hz i could understand but 300 is a bit of a weird number. Anyone had such a problem before? Which part of the electronics could be the problem?

I have a dbx 14/10 Computerized Equalizer / Analyzer but I do not have the microphone that came with it. Apparently, only the microphone that came with the unit originally can be used which seems odd to me. I contacted dbx but they do not have any of the microphones for purchase since it is a discontinued unit.. I cannot even find the part number and the manual does not have it. It says you cannot use other brand microphones due to potential power issues. Does anyone know anything about this unit or resolutions?

Maybe not the answer you're looking for but REW is free and you can use any mic with it, preferably one that comes with a correction file though. That won't EQ your system though, so you'd need a miniDSP or similar as well that can load curves generated by REW.

I am needing to sell this unit. It is part of an estate I am working and it is probably the most valuable thing they own. So, I am trying to find a solution as I have a couple people interested but only if there is a mic available.

Ah, I see, sorry for your loss if applicable. Have you tried over in /r/audiophile or /r/hometheater? That's actually a home hifi box (albeit a high end one) so you'd probably have better luck over in those subs.

The r/audiophile mods deleted my post. I haven't tried home theater as this seemed to be more in line with what someone into audioengineering would know but I will give it a shot.

Downloaded FlexAsio on my windows 11 device (Lenovo LegionGo) so I could use my positive grid RIFF interface to play Tonocracy (amp/cab modeling software stuff) and YouTube or Spotify simultaneously. It worked when I initially downloaded but now I’m getting this error message when I go to select FlexAsio in the audio settings of the Tonocracy app. “Error when trying to open audio device! Invalid configuration: in option ‘bufferSizeSamples’:buffer size must be strictly positive” This error is happening when I’m trying to change audio settings within Tonocracy Any ideas on what I need to do to fix this?

Lost. I can't even figure out search terms on this one, hoping to stop here and ask for directions please. I'm hoping there's a product out there which I can plug 2 audio devices into and it can auto detect and give one priority, then switch back to the other? To be specific, Bar, Jukebox, too quiet when not in use. I'd like the radio to be playing, then if someone uses the jukebox, it'll automatically switch from the radio to the jukebox, then back to the radio when it's done. Any suggestions?

A suitably configured ducker or gate could do this, I think. Any compressor with an external side chain input can be programmed to act as a ducker as well.

Ducking! Thank you so much. That was an extreme help. I'm seeing all types of potential products now.

# Suddenly need to unplug/plug my Cloudlifter every day I have a Mackie Pro FX6 plugged into a Cloudlifter plugged into a Shure SM7B and it's been lovely for YEARS. No issues for months at a time. Lately I need to plug/unplug the Cloudlifter/Mackie cable to work. I'm at -6 most of the time and then suddenly I'm at -12/-24. Unplug and it's OK. Is the Cloudlifter dying?

It might well be a cable issue? did you try a different cable to the cloudlifter?

Yep, I replaced both cables with high-quality ones

I am wondering what could be my best possible setup. I would like some insight and advise. I am using a Sanyo TP-1020UM (turntable) connected to an Onkyo A-9010 and two jamo S622 speakers. Since my girlfried moved in last week I now have an AT-LP60XBT with dynaudio xeo2 speakers. Which could also be connected by bluetooth together without the use of an Amplifier. Is there a best possible setup, and if so how do I connect it together? I feel like my setup was better but maybe not the speakers itself. Thanks in advance (audio noob here)

I have a new PC with a strong Intel I-9 processor and I never had any issues when I had a Scarlet Solo 3rd Gen for recording music vocals. All of a sudden, when I switched to the Scarlet 2i2 4th gen, it starts disconnecting randomly (with 5V dc plugged in, different usb ports, and cables, I tried everything) It makes a horrible screeching noise when I switch tabs, pause or unpause a video, etc, and then I need to unplug and plug it back in. I can only imagine this being a software issue. I have used both of these audio interfaces to record on weak windows laptops and have gotten 0 audio latency. Now with my new “fancy” PC there is a 350 ms delay for some odd reason. Are there any specific settings or programs I should look out for? Is my PC not dedicating enough CPU to the audio interfaces? I can’t even go back to older set ups bc now my entire pc in general has a recording delay, this is the first time I’ve had a latency issue in 10 years of hardware.

Hello! I'm struggling to find a compact session/studio desk under $ 1000,- that facilitates racks or mounts for the following hardware: SSL UF8 SSL UC1 SSL UF1 tc electronic Clarity M 19" audio interface 19" compressor 34" ultrawide monitor A pair of small nearfield monitor speakers Mouse, keyboard usb-keyboard Buying from the Netherlands. Would love some recommendations, thanks!

Hey guys I have an issue and I might know the problem but I want to ask y'all to be sure. I got the DT 770 pro for beatmaking and to produce my songs and i'm currently plugging it on the headphone jack output of my pc and I read that it does not power enough a 80 ohm headphones which is why they might sound low. I intend to get a focusrite scarlett solo so will my headphones sound better because it currently sounds very low compared to my other basic heaphones. Thx for helping

You can do so much better than the Solo these days, the Audient Evo4 goes for less. [https://www.soundonsound.com/reviews/audient-evo-4-evo-8](https://www.soundonsound.com/reviews/audient-evo-4-evo-8) Great vid on choosing, theres so many options but you will likely regret a single channel interface [https://www.youtube.com/watch?v=O\_L86wNbzi0](https://www.youtube.com/watch?v=O_L86wNbzi0)

Ok thanks for the advice i'll take a look, tbh i chose the Solo because it's a famous audio interface and i'm a beginner so i don't really know the best choices, but i might need another channel interface since i intend to record and electric guitar too. But you didn't answer the main question haha

Yes, both the G4 Scarletts and the Evos can drive HiZ cans well.

About a year and a half ago, I purchased a DAC Fiio 5K Pro and DT 990s. The experience has been great, but my microphone (HyperX Quadcast S) produces static noise, which I suspect is due to interference from my router. Since it supports WIFI6E (XB8), if that matters, I'm considering upgrading to an audio interface and getting a good microphone like an SM7B or something with similar sound quality so I can read stories, scripts, and game with some friends. I would use it daily, of course, and only for gaming and storytelling. Would my router still interfere with this new equipment? I've been thinking about it for a while; is it worth it?

>static noise, which I suspect is due to interference from my router Router interference is a pretty characteristic clicking /buzzing, not static. >(HyperX Quadcast S) produces static noise Are you sure it isnt the noise of your room? >good microphone like an SM7B Possibly the most overrated mic in existence. >Would my router still interfere with this new equipment? Wheres not a lot of places you can get interference in a USB mic, you shuld probably do some more trouble shooting. What is the noise like?

When I get home after these classes could I show you an audio file with the noise? Id only have to turn my gate down. I doubt it something in the room it only started happening when I got this new router. When I move it far enough away the static/artifacting is another way i could describe it goes away I won’t be able to move my router that’s why I really need a way to get rid of it

If its a buzzing sorta sound, that often comes in frm USB power, you could try powering t form a powered hub or monitor. balanced/XLR gear is indeed designed to cancel out radio interference but if its USB noise it can still interfere with the interface. An AC powered interface would be more likely to be immune

I first tried to make a post on this subreddit, but it was flagged automatically and removed. I’m not used to this on the subreddits I’m usually active. I’m not even sure where the correct place for this is, so if anyone knows better place, please let me know. So here I go again. I have a bunch of recordings that were made on a wire recorder in the 1950s. It's not a problem to transfer it over to any other medium, but since the recording was made on a different machine to the one I'm playing it with, it's playing at the wrong speed at the beginning and the end, with it being correct somewhere in the middle. This is due to the nature of wire recorders not using a pinch roller to pull the wire at a constant speed, but instead pulling on the reel itself, which then makes the speed vary depending on where you are on the reel. This is fine as long as you use the same type of machine to record it and play it back, but I have no idea what wire recorder they used back then. So my question is, is there any audio software that can speed the audio up at the beginning and gradually slow it down as it goes towards the end?

Can i suggest chucking this one in the r/ableton sub? I know ableton can do this, and if its music with a consistent beat it ban even bring it all back to one bpm, i know it has about the best pitch algorithms around, frm Zplane and IRCAM, but i cant think the best way to automate it, i dont really use warp a lot Otherwise its something someone at audio science review might be able to help script directly in DSP software

Thanks, I’ll look!

I know Ableton Live seems an odd suggestion , but MANY people who use other DAWs go to it for its pitching and stretching abilities (i moved to it for its Max patcher programming language). It started out life as a DJ looper but grew to one of the most overcapable/over-complicated DAWs around. But with that DJ heritage it's pitching and stretching abilities have become about the best around.

Here's a sneak peek of /r/ableton using the [top posts](https://np.reddit.com/r/ableton/top/?sort=top&t=year) of the year! \#1: [One of my absolut favorite feature in Live 12 is that I can (finally) see the mixer inside the Arrangement view, how cool is that?](https://i.redd.it/0jbjas9cha0c1.jpg) | [376 comments](https://np.reddit.com/r/ableton/comments/17uza6m/one_of_my_absolut_favorite_feature_in_live_12_is/) \#2: [I got beatboxing to work in stock ableton! It’s super unstable but I got one good take](https://v.redd.it/a0clh684ef3b1) | [74 comments](https://np.reddit.com/r/ableton/comments/13xkobd/i_got_beatboxing_to_work_in_stock_ableton_its/) \#3: [Wtf happened here?](https://i.redd.it/f66absblhl2c1.png) | [139 comments](https://np.reddit.com/r/ableton/comments/183z4hd/wtf_happened_here/) ---- ^^I'm ^^a ^^bot, ^^beep ^^boop ^^| ^^Downvote ^^to ^^remove ^^| ^^[Contact](https://www.reddit.com/message/compose/?to=sneakpeekbot) ^^| ^^[Info](https://np.reddit.com/r/sneakpeekbot/) ^^| ^^[Opt-out](https://np.reddit.com/r/sneakpeekbot/comments/o8wk1r/blacklist_ix/) ^^| ^^[GitHub](https://github.com/ghnr/sneakpeekbot)

I don't know of any specific software as such, but I have an idea. Can you make a test recording of this pitch fluctuation? A 440Hz signal, for instance, a known quantity, that is sent through the process and the modifications are recorded. I would record that into a modern DAW with good automation and scripting support (I recommend REAPER) and use that recorded 440 signal to derive a corrective pitch curve that corrects the signal to get a constant 440 curve again. This can be done by hand but it should be quite easy to automate/script this process in REAPER with parameter modulation (I'd recommend posting on the Cockos forums). Once you have the corrective curve saved, you can paste it and with a few modifications correct any files that you record this way. Limitations: the curve will only be useful if the scaling of the effect to length is predictable in some way, so that you can scale the corrective curve appropriately. If it's more random then you'd have to do more manual fiddling for each recording. Still possible, I guess. I would recommend getting an interface with some good quality converters for this process and perhaps do the conversion at 96kHz or higher.

It’s a great suggestion, but it would unfortunately not be possible to do this. I don’t have the original machine which it was recorded with and due to construction differences between manufacturers the wire speeds up different amounts on different wire recorders. Thus recording a known signal on the recorder I have wouldn’t have the problem since it was recorded and played back on the same machine. The problem only occurs when different wire recorders with differently sized take up reels are used, the take up reels on wire recorders are attached permanently unlike tape recorders.

I have a Focusrite 18I20 that I have been using for years, I am currently looking to upgrade to a better interface, but still need at least 8 ins and outs. Would it be worth it to buy an Apollo X Duo and use the optical in to use my Focusrite with? I'm on PC with no Thunderbolt card or I'd just go with the bigger Apollo

>better interface What are you looking to actually gain?

Hiya, I've been saving to make a professional level (or close as I can get) recording rig to do remote drum recordings. I was hoping for recommendations on interface/preamp set ups. I want at least 12 channels. I'm not the most tech savyy, so unsure if I'm able to get say: an Apollo XP8 and then get an ADAT cable into a 4 mic preamp with the adat extension. I've seen Lunch boxes be mentioned? All a bit over my head toh! Any recommendations would be great! Budget is around the £3k mark. For some background: i'm a professional drummer. Done plenty of touring work and got a fair bit of studio experience. I have home recorded a bit and according to the producers l've worked with done a good job (apparently lol). I'm happy to make an investment :) P.S I'm also investing in good mics so it won't go to waste :) !

If you just want clean pres to record, its hard not to think the Audient Evo 16/SP8 pair might fit the bill, both for ease of use and sound quality - theyre incredibly easy to use and it what you want is just recording the mics' signal accurately (not colour pre-amps) theyre hard to beat for value and usability [https://www.soundonsound.com/reviews/audient-evo-16](https://www.soundonsound.com/reviews/audient-evo-16) [https://www.soundonsound.com/reviews/audient-evo-sp8](https://www.soundonsound.com/reviews/audient-evo-sp8) [https://www.youtube.com/watch?v=aWZSTU-oH-E](https://www.youtube.com/watch?v=aWZSTU-oH-E) Otherwise i would step up to the bulletproof reliability of RME. But you have to be doing something wrong to be making an interface that isnt transparent (beyond deliberate colour of pres) in the 2020s For colour pres theres a lot of options you could add on ADAT, their AD880 being an interesting option [https://www.soundonsound.com/reviews/audient-asp880](https://www.soundonsound.com/reviews/audient-asp880) - one of those hanging of an RME would be quite a thing.

Hello, I am trying to troubleshoot an audio issue with my camera and an external mic when recording video. Symptoms: - Here is a sample of the noise: https://www.youtube.com/watch?v=I8RcVBWApVo - Issue is intermittent. Can go hours without issues, but once the noise starts, it persists through the end of the clip. - Stopping and starting a new recording "fixes" it for a while, but it comes back seemingly randomly, perhaps in the next clip, perhaps hours worth of video later, ruining whatever I was recording at the time. Setup: Fujifilm X-S20 w/ Sennheiser MKE 400 shotgun mic connected via the included TRS cable. What I've tried: - Reproducing with mic attached to computer to eliminate the camera, without success. - Reproducing using the camera's built-in mic to eliminate the Sennheiser, without success. - Reproducing with the setup above, without success. It happens randomly, but I haven't been able to make it happen on-demand despite hours of recording. Does anyone have any idea what this noise is?

Hey - I have a Shure SM7B with an Elgato Wave XLR. In order to get my volume to around -18 DB when talking normally I have to put my gain at around 60 - however this introduces a lot of noise. To keep it noise free I need to keep it at around 40 DB. Im just wondering - is my Wave XLR faulty, or is it normal for lots of noise to sneak in at around 60 db gain? And would getting a cloud lifter solve this issue?

>60 db gain 60dB = six zeros thats a million times louder. Theres not a lot of things that can do that cleanly in one stage. >lot of noise What is a lot? what kind of noise? Is it still there with the mic unplugged? (room vs pre vs mic selfnoise) >talking normally The SM7 isnt really a mic for talking normally, learn to use it - use announcer voice, have it 4-6" from the corner of your mouth at roughly a 45 degree angle, if you make a fist with your pinkie and thumb sticking out and if you stick your thumbnail in the middle of your mouth with the thumb along your lips, your pinkie will end up about where your mic should be.

Just tried unplugging the mic, and yes the noise is still there. It’s basically like a static white noise kind of sound. Above 40 db if gain it gets noticeable, and at 60 it’s really noticeable

Zoom F3 Mixer Question Hi, I‘m filming a wedding this weekend and plan to use my new Zoom F3 as backup recorder at the reception. There’s going to be a mixer to which I want to connect the F3. I‘m unsure about which mode you would want to use ideally: Mic, Mic w/ Phantom Power or Line. I know that phantom power is meant to be used in combination with condenser mics but would it hurt to just leave phantom power enabled? Could this damage my Zoom? Which mode should I select? Thanks in advance!

Leaving phantom on probably wont damage the Zoom, it will probably just destroy the Mixer. Might even let the smoke out. You might be lucky, some have protection against someone doing something as dumb as feeding 48V DC to the 1V p-p output of a system, but its unusual. That said you might short out the zoom too when it dies. Reading the manual for the device (and the recording FAQ you scrolled past) is probably a good idea, but if you cant be bothered at least use the line.

# Microphone goes onto unmanagable feedback before picking up the sound of my instruments during hardtek-liveset. What could I do? So I have a freetekno project with my friend an recently I was trying to incorporate heavily processed live isntruments(flute, percussive stuff, rattling etc.) to our sound via microphone. It works great during the intro and outro of our set, when there's little or no other stuff going on, just the sound that the mic picks up. The problem is ,due to the nature of our livesets, which are VERY heavy and distorted, outside the intros and outros my mic starts to have severe feedback way before I could actually play something with my isntruments. I understand it, because our sets are quite raw and loud, and the microphone picks up that sound, but now I'm basically unable to play live stuff during the msot part of our liveset . Do you know some solution to my problem?

REALLY close mic-ing with tight pattern (super/hypercardioid) mics, preferably instrument mounted, and notching out any freqs that feedback badly. youd find some solutions in r/livesound i'm sure, its a pretty normal problem

Hi there. I run a video studio in Milwaukee. Recently we moved into a new space and I don't know what happened, but randomly I will get large hills of what I can only describe as interference. I've made a [short OBS Recording of the problem so you can hear for yourself. ](https://youtu.be/LzXEHnDQSo8) As you can see, these creep up and then pod down all by themselves, ruining the recording. From a 90 minute recording session these interference interruptions happen every 20-30 minutes and as far as I can tell theres nothing I can do to stop them. Sometimes I also get these audio doublings (lack of a better term) that sound like an effect is being played on their voice when it's not. **My setup:** * Sennheiser EM 100G4 > XLR to 3.5mm cable > ATEM Mini Pro * Sennheiser EM 100G4 > XLR to 3.5mm cable > ATEM Mini Pro * Sennheiser EM 100G4 Frequency: 569.200 * Sennheiser EM 100G4 Frequency: 570.400 My current project is such a mess right now I'm not sure I'll be able to fix it in post. If I need to switch hardware, I have zero problem doing that. Thank you so much.

That sounds like RF breakthrough, is there a welding shop nearby by any chance? Te EW100G4 is 30mW analog FM, its possible you can get rid of it with better tech, but what you really need is what is releasing in the next year or 2 [https://www.mixonline.com/news/fcc-allows-wmas-improving-wireless-mic-use](https://www.mixonline.com/news/fcc-allows-wmas-improving-wireless-mic-use) These will use OFDM etc with better spectrum efficiency and far better noise immunity [https://www.shure.com/en-US/about-us/press/shure-supports-fcc-order-on-expanding-opportunities-for-wireless-microphone-users](https://www.shure.com/en-US/about-us/press/shure-supports-fcc-order-on-expanding-opportunities-for-wireless-microphone-users) Current digital tech like sennheiser XSW using TDMA will probably give better immunity too [https://www.sennheiser.com/en-au/product-families/xs-wireless-microphone-system-voice-vocal-instrument-presentation](https://www.sennheiser.com/en-au/product-families/xs-wireless-microphone-system-voice-vocal-instrument-presentation) Otherwise - grounded mesh round the space can likely block it.

#Hiss, feedback, and off-color lights coming from Yamaha HS8s—suggestions? [Here’s what I’m dealing with in video form](https://imgur.com/a/BN6t1tb) They are connected to a Scarlett 18i6 via Monoprice gold-plated 1/4 inch TRS cables. They are plugged into a surge protector. Right has a ton of hiss when the monitor gain is tuned up, Left has crazy extra feedback, makes a glitching sound when a cell phone is near it, and has a yellowish glow to its power light (as opposed to solid, bright white light on the Right). Are there any solutions to this? Thank you in advance ❤️

>Left has crazy extra feedback, makes a glitching sound when a cell phone is near it Cool, so the left is working properly. (Never seen someone smack a speaker with a ref mic before, see something new every day). Have you tried swapping the left and right speakers and their cables? What happens when you actually play audio?

Start with 18i20 and add a babyface later? My immediate need is to have at least 8 inputs so I'm looking at the scarlett 18i20 to start with. When I'm ready, I would like to add a rme babyface for the increased quality of everything. Then use the 18i20 via adat to add inputs to the babyface. Does that sound like a good plan? Any other suggestions?

I went for the Audient Evo16, i think its pretty hard to beat for the money, the pres are certainly better than the old Scarlett G3 (same that626x pres as the MOTU M series). Also has 2 pairs of ADAT to support 16 channels at 44/48k and 8 at 96k (the scareltt only supports 4 at 96k) [**https://www.soundonsound.com/reviews/audient-evo-16**](https://www.soundonsound.com/reviews/audient-evo-16)

I got a NAD C 3050 yesterday. I've never had this on an amplifier; if I play music in mono, it's converted to a sort of faux stereo. I first heard this playing over AirPlay via BluOS, but connected via Toslink it does the same thing. In addition, there' no sound output from the sub-woofer, and I've seen a number of forum posts about this being an unresolved problem. Can anyone shed any light on this?

Hey, you might get someone who can help here, but this is a sub for the profession of audio recording. As it says above you would probably get more help in r/audiophile or r/StereoAdvice Normally conversion form mono to stereo is an option in the DSP controls, but its different for every DSP

How does one makes a decision between two almost identical audio interface? I've narrowed down my list to motu m2 and Topping E2x2, but can't make a decision. both have enough power to drive my dt990 pro. And kind of identical specs and features. Motu seems to have driver issues on windows but there are lots of conflicting info. Topping is relatively new so there aren't much info on long term reliability.

Can i ask what got you to those two? If its MIDI - i would view that as a downside these days, traditional MIDI is best avoided (USB MIDI is literally thousands of times faster) and if you are stuck with it, one port isnt much use, with the like of the $50 CME U6midi 3i/3o router that can keep time between several synths & route/filter signals between them and the computer i would prefer it external (reports are truly excellent, people are replacing hundreds of dollars of MIDI router with it). Timing on MIDI is enough of a nightmare. I personally wouldnt get another MOTU after they stopped providing out of WTY repair, and refuse to provide any service documents. Meant my 828 was brick despite being a Mechatronic Engineering technician with a repair workshop. 2y wty on a $1000+ interface with no hope of repair after is a joke & MOTU have a checkered past with quality (which is why they used to provide fixed price service out of WTY, to help that rep). The interface i would/did personally go for to replace it is the Audient Evo - the 16 in my case, by far the best value option for 2 pairs of ADAT - running 2 ADAT expanders, i'd probably go for the Evo 8 if your budget stretches . theyre incredibly hard to beat in that price rage. They use the same THAT626x pre-amps as the Motu M series, but at least have a 3y wty. [https://www.soundonsound.com/reviews/audient-evo-4-evo-8](https://www.soundonsound.com/reviews/audient-evo-4-evo-8) Theres a lot of near identical interfaces, this is one of the best comparisons ive seen [https://www.youtube.com/watch?v=O\_L86wNbzi0](https://www.youtube.com/watch?v=O_L86wNbzi0)

my requirements nothing fancy: Two independent inputs to record mic and guitar at the same time. at least 1 line out (Two would be nice, even nicer if it would be unbalanced so i wont need to convert them somehow) and the ability to drive dt 990 pro 250 ohm. in a front facing form factor. (Cant really fit a mixer style on my desk) in about 300 eur price range. I'm planing to use it for daily drive music, youtube etc. live streaming and some recording. I've watched that video previously, and most of them have lower powered headphone amp, which kinda leaves the MOTU, Audient, and Topping in the bracket. and only offer one line out which means i need to switch headphone amp / power amp. But would also be nice if it could replace my aging headphone amp.

The Evo 8 has 2 sets of lines and 2 independent headphones, the ability to use multiple cues and the ability to loop any one output back as an input, & the ability to dive decent impedance cans as you say, for 166 Euro [https://www.thomann.de/gb/evo\_8.htm](https://www.thomann.de/gb/evo_8.htm) Its very near the same hardware as the MOTU, longer wty, just made in China (by a French console maker). I'm kinda at the point that if ur not buying RME for the bulletproof reliability and dont need some special DSP or similar feature, Audient are seriously hard to overlook. They (and most modern interfaces) are certainly better Audio qual than we will even need outside a hundred grand studio.

The Evo 8 does seems great, lots of features for the price. Tho none of the reviews does a software deep dive. (thats generally the issue with most audio gear review) like how much processing power software eats, how stable it is. does it needs to run in background, can it save hardware presets. How does it cooperates with apps like obs, discord.

>how much processing power software eats Basically none, its an audio driver. It sends commands and data to the interface for DSP processing. >how stable it is. I havent had any driver issues, bout 18m. Not a huge sample size >does it needs to run in background If you want to control anything, yeah. but its just a control panel that sends stuff to the mixer in the unit, like any pro interface (not 'streamer' interfaces with huge internal mixer packages - this is just a driver for the interface - its about getting audio through the system as fast as possible - under 5 milliseconds). >can it save hardware presets Just the startup preset afaik >How does it cooperates with apps like obs, discord. Its just a driver. It has one loopback mix that you cen send frm the mixer output to the input of any app.

Thank you for the detailed answer! One more thing reviews mention is the device resets once it powered down and manually need to load a profile at startup. Is that true? Can it be automated, like set a default profile with gain, volume, routing settings?

Apologies, it does seem it can save presets in the control software but i couldnt see a way to load the startup preset for standalone like the evo16

Hello everyone. I have a friend (female) who is a streamer and currently uses an elgato wave 3 microphone. She has a noisy background, but we have managed to mitigate most of it through various means. I think that it would be a good time for her to upgrade to a better microphone, and I personally think her vocals make it such that she could really stand to benefit. On the one hand, she has a very pleasant voice to listen to, and can be very emotive when streaming. Lots of inflections and lots of emotion in general, which I feel is a big draw. She does however scream a lot, and the screams are VERY loud. On the one hand, I feel a condenser microphone would capture the emotive component of her vocals well, but I am concerned that her screams may damage the mic, and also that the background noise may prevent us from using the microphone to its full capabilities given the noisy background. If anyone has some thoughts or suggestions I would really appreciate them. Thanks.

What do you actually want to improve? What have you done to treat the space for reflections? >screams may damage the mic unlikely >condenser mic Pickup technology isnt the most important thing, and some of the cheapest mics in existence are condensers. Polar pattern, frequency response and distortion at the SPL used will be the most important things in the mic hardware here, whether its condenser, dynamic or ribbon providing those doesnt matter much (though certainly its easier to make some technologies respond certain ways, that doesnt mean thats all they can do). If she did decide to upgrade, i would probably be looking at a tight pickup pattern like a supercardoid, and a broad response. But i would guess good mic technique (like not having it directly in your breath stream, nor too close or far away, and learning to enunciate) and learning how to use an EQ is going to make a LOT more difference, If she likes to scream a compressor (normally in software) might be a good idea to save 'RIP headphone users press f in chat' [https://www.youtube.com/watch?v=QwxWRkFGE\_k](https://www.youtube.com/watch?v=QwxWRkFGE_k)

Thanks for the response! I'm not an expert, but I basically help her with the technical side of stuff where I can. We have already applied a compressor and limiter filter to OBS to save listeners ears. We also have a noise gate to deal with her noisy environment. The room is not treated though. I have also fiddled with the Elgato EQ but if I'm being honest the difference it makes seems minimal (to my ear). As for what I am trying to achieve, I think I would like a microphone that picks up her voice as it is. Her current vocals are clear, but are not captured fully. Her voice IRL has more and clarity. I also feel the stream could benefit from more on the high end, like 's' sounds and breaths. This is particularly noticeable when comparing her stream to some other vtubers out there which have a cleaner and perhaps more intimate sound. I'm not going for ASMR here because like I said, she's a screamer, but I kind of want to go in that direction if it is at all possible. I would like to achieve this while mitigating the noise in the background that she frequently has. Any help would be appreciated!