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Does anyone here have any experience with the Echo Gina 3G? I'm specifically concerned with the preamp quality. I was going to go M-Audio with an Audiophile 2496, and a DMP3, but apparently their drivers for Vista 64 are only in beta, while the Echo 64 bit drivers seem to be well regarded. The only real doubt I have is if the preamps in the Gina are of similar quality to the DMP3, which I know from experience is good enough for me.
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Dec 14, 2008 02:31
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My Precious Violin Case posted:So I'm looking to buy an audio interface and it seems like everyone who's been asking for recommendations either is looking for something other than what I'm looking for or has waaaay more money to blow. On JohnnySmitch's advice, as well as other peoples', I picked up a Line6 Toneport KB37 (http://line6.com/toneportkb37/) yesterday. It ran me about 280 CDN and I'm pretty happy with it so far. I'm an awful musician trying to get into recording so that I can hone my chops a little better. My previous rig consisted of hooking up a Griffin iMic, for guitar, and the Rock Band mic -- all going into Garageband. It sucked. Hard. The KB37 provides a much cleaner sound than I was getting before, and the preset tones are much better than the ones in Garageband (though that's not saying much). I also love that it has a keyboard -- it makes programming beats much easier than simply going off of my (typing) keyboard, and I learned Tiny Dancer this morning with the help of youtube. I might be mistaken, but I hear that the Firebox has a little brother. If you're waffling about Line6, that might be a decent option to try. Edit: of course, right after I wrote this I started experiencing awful sounds in the supplied Gearbox software that came with the KB37 -- really strong crackling and echoes that are showing up not just in the "monitor", but also in the recordings. Some googling suggests that this might be USB-port-related, but it's a huge pain in the rear end. SlippyHat fucked around with this message at 22:23 on Dec 14, 2008 |
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Dec 14, 2008 20:59
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SlippyHat posted:I might be mistaken, but I hear that the Firebox has a little brother. If you're waffling about Line6, that might be a decent option to try. You are probably thinking about the Presonus Audiobox USB (a 2x2 interface), which looks like a nicely featured and affordable interface, though I haven't tried one firsthand. Personally I am wary of Line6 after having two PODs mysteriously die on me -- one of them just went dead, one of them started making horribly loud crackling sounds after several months of inactivity; both were treated well and never left my home studio. Maybe I just had bad luck but I'd have a hard time recommending their stuff. If you can live without Vista 64 drivers, M-Audio makes some good entry-level interfaces; I've used both a Delta 44 and MobilePre USB extensively without any complaints.
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Dec 14, 2008 23:20
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SlippyHat posted:Edit: of course, right after I wrote this I started experiencing awful sounds in the supplied Gearbox software that came with the KB37 -- really strong crackling and echoes that are showing up not just in the "monitor", but also in the recordings. Some googling suggests that this might be USB-port-related, but it's a huge pain in the rear end. Do you have it plugged into one of the onboard USB ports, or through a hub? You should definitely be going into an onboard port - hubs can introduce all kinds of problems with USB-base soundcards. Other than that, make sure your USB drivers are all up to date. Also, you might want to disable your onboard soundcard as well - sometimes there are conflicts there. I've never had any trouble with my Toneport, but I've never used the KB37, so maybe there's a difference when it's sending MIDI data at the same time as audio?
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Dec 15, 2008 00:11
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h_double posted:You are probably thinking about the Presonus Audiobox USB (a 2x2 interface), which looks like a nicely featured and affordable interface, though I haven't tried one firsthand. I own one, and I have to say it's pretty darn good value for the buck. I have had no trouble out of it. Pre's are decent for a bargain unit. No complaints here. As good, or better, than any other sub-$300 unit I have tried.
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Dec 15, 2008 03:51
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JohnnySmitch posted:Do you have it plugged into one of the onboard USB ports, or through a hub? You should definitely be going into an onboard port - hubs can introduce all kinds of problems with USB-base soundcards. Other than that, make sure your USB drivers are all up to date. Also, you might want to disable your onboard soundcard as well - sometimes there are conflicts there. I've never had any trouble with my Toneport, but I've never used the KB37, so maybe there's a difference when it's sending MIDI data at the same time as audio? I'd heard that plugging into a USB hub would be a bad idea, so I'm plugging straight into my onboard USB ports. It's strange, though. When I go straight from Toneport to Garageband, it's perfectly fine. When I fire up Gearbox, though, the sound goes straight to poo poo. You may be right, there might be some sort of problem sending MIDI data at the same time as audio. I'm in the midst of talking to a couple friends of friends, who also have the KB37, and we'll see what I can dig up. The Line6 support is notoriously bad so I might just dick around with this for a week, or so, and give the Audiobox USB (or possibly the M-Audio gear mentioned above) a shot. I had looked forward to mucking about with the presets, too. 
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Dec 15, 2008 05:32
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It lives! Somehow upgrading through Monkey (their update software) hosed up my install. Uninstalling the existing software and drivers, then downloading the latest Gearbox software right from the Live6 site did it. Update: this thing is a piece of poo poo, and it's going back. I love having the keyboard, and the preset tones were fairly decent, but this goddamn thing just isn't reliable in the slightest. I got about four hours out of it last night, and tonight it's back to being rubbish. SlippyHat fucked around with this message at 01:48 on Dec 17, 2008 |
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Dec 16, 2008 04:46
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I have a question about room acoustics. I finally got some monitors that don't suck (JBL 4326 with a 6.5" woofer) and am trying to decide where to set up my studio space. The room I'm in now is sort of on the small side (10' x 10' with a couple of bookcases and a small couch as well as the computer desk), I also have another room where I could set up that's a little bigger (probably around 15' x 15'), the downside is that right now there's no carpeting and the walls are sort of bare so I'd need to do more to wrangle sound reflections. (In both cases I'd being going into the hall or basement for anything with microphones) I think I like where I'm set up now; it's a little cramped but cozy, but my question is whether I'd be hurting or coloring my sound too much by being in a fairly enclosed space like that?
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Dec 17, 2008 05:47
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I doubt anyone knows this, but why the hell does the level for my snare drum in RedRum keep resetting to 61 every time I start playing the song? I created a new redrum, programmed it with all the same drums and it kept doing it. Then I muted the drum track in protools and it didn't do it. But I can't figure out what the hell is going on that causes the drat snare drum volume to reset to 61 every single time I press play, no matter where I'm at in the song. It is driving me crazy and I can't find anything out of the ordinary with it. Is there a setting in protools that would tell reason to change the volume level of one of the instruments?
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Dec 17, 2008 15:35
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infiniteseal posted:I doubt anyone knows this, but why the hell does the level for my snare drum in RedRum keep resetting to 61 every time I start playing the song? It sounds like the level on your snare sample in Redrum has volume automation on it. Check to see if the snare level in Redrum or anything else involving the snare in Reason has a green box around it. Then right click and click "clear automation" to get rid of it.
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Dec 18, 2008 03:04
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I have a few fairly specific vocal recording questions, which I hope ML will indulge. I have a fair amount of experience with instrumental recording, but every time I try to record vocals, they come out sounding like poo poo. It's really presenting the largest barrier towards creating professional-sounding recordings. I have a closet attached to my "studio" (really just a 12' X 15' room that contains a drumset and a couple of amps + recording equipment) that I've been using as a vocal booth. It's probably roughly 3' x 10', but I've hung two heavy blankets across the width of the closet (picture two closet rods hung the "wrong" way) to limit the space to around 3' X 6', and hopefully dry the sound up a little. However, owing to wood floors and parallel plaster walls, the room is still incredibly live. What else can I do to dry it up/make it sound more like a professional vocal booth? Secondly, I am currently trying to record vocals for a crossover thrash project similar to S.O.D. or Municipal Waste. I am having a hell of a time getting vocal levels appropriate without intense clipping. I was using an AKG Perception 415 large-diaphragm condenser with a vocal grill placed around 6" in front of the mic. I have been standing roughly a foot or so away from the mic. If I get any farther away, I get a "distant" sound (like I'm shouting from across a football stadium), but at this distance or closer, almost EVERYTHING peaks out really badly and is impossible to work with. How should I go about getting a fuller sound out of my vocals even when recording vocals with greater SPLs? Should I switch to a dynamic mic instead? Finally, once I get a decent, non-clipped vocal recording, what can I do to remove hard or muddled consonant sounds (Plosives, B's, D's, etc.)? Is there some sort of free VST/AU plugin that I can use, or should I just wrap the mic diaphragm in foam and stand farther away with the input volume cranked? If this is the way to do it, around what frequencies should I notch to remove air noise? Are there any other special strategies to achieve the kind of thrash metal vocals I am talking about here? What should I do with regards to reverb (I know that earlier, Bay Area thrash albums are drenched in reverb, but the S.O.D. records/Municipal Waste stuff sounds pretty dry). For the sake of informed diagnosis, I'm running everything through a Digi 002 into Logic Pro 8. Mics I have at my disposal: SM57s/58s AKG Perception Small/Large Diaphragm Condensers Blue Ball/Kickball Dynamic Mics Thanks ML!
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Dec 18, 2008 08:48
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I've found that compression is a huge part of getting a good vocal track. Don't worry too much about getting tons of volume when recording, because you can always compress it later. If you can, have someone riding a the fader while you're recording to prevent clipping as well.
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Dec 18, 2008 09:01
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uk10rguy - I think you're overcomplicating things here. Tiny vocal booths like what you're describing are not an ideal solution, the smaller size in itself gives a much too "live" sound because the walls are so close to each other. I'm acting as vocal coach and engineer for a friend who sings in a dance/pop band. We're doing this in my carpeted living room, which is probably 20'x15' tops. the ceiling is maybe 10'-12' tall and is covered in cheap acoustic "spackle" matterial. I have blinds on the window and we're unplugging the fridge so that it doesn't bleed into the mic, which is a KSM44 with pop filter, positioned about 5-7 feet from the nearest walls, putting him close to one corner of the room, facing the walls. It's actually a pretty even, natural sound, with little reflection. Try a larger room like this where there are many non-resonant objects to diffuse the sound (couches, bookshelves, tables, chairs). If your room is neutral, then you should be able to back off from the mic on your screams and not have to worry about reflections making you sound far away. Then you can get closer to the mic for your quieter parts. Using the proper mic technique is pretty important, and you should coach your vocalists on this and keep track of how well they're applying it. If you're clipping the input, you should check your gain stages and simplify things. Try plugging the mic right into the 002, and record at 24 bit. Then ask your vocalist to give you a good belt, and adjust the preamp level so that you're just below clipping when he gives his all. If you're at 24 bit and have a neutral room, then you shouldn't have to worry about turning the preamp down so that your loudest material isn't clipping. Then during mixdown you can turn the vocal channel up, and use a compressor/limiter to bring the louder parts down to the same level as your "regular" sections. As for removing plosives, try a compressor with a sidechain input. Create an aux track and bus the output of your vocal channel to it, then put an EQ on the aux channel. Now using hipass and lowpass filters, isolate the frequencies of the sound you want to de-emphasize (low frequencies for plosives, high frequencies for S sounds). Now set the output of your aux to another bus, put a compressor on your main vocal channel, and set the key/sidechain input as the bus your aux channel is outputting to. Now you can compress JUST the plosives or S sounds, because those sounds are what is triggering the threshold of your compressor.
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Dec 18, 2008 21:32
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I've got a problem with my little amateur recording thingy I've set up and I'm completely stumped. I've got my mic set up and it comes through fine in my mixer, I can hear everything very clearly and without any static or distortion or anything like that, but anything I record with my PC is played back extremely distorted. I have no idea why this is happening. I usually just use audacity to record but it seems to be doing it with every program so that isn't the problem. I've got it set up in a mixer>RCA cords>USB interface>PC series. I tried not using the USB interface and just going RCA>adapter>line in port on onboard sound card, and the same thing happened so it's not the interface either. Anyone got any ideas?
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Dec 19, 2008 10:01
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cat doter posted:I've got a problem with my little amateur recording thingy I've set up and I'm completely stumped. I've got my mic set up and it comes through fine in my mixer, I can hear everything very clearly and without any static or distortion or anything like that, but anything I record with my PC is played back extremely distorted. I have no idea why this is happening. I usually just use audacity to record but it seems to be doing it with every program so that isn't the problem. It sounds like you've got your input levels too high going into your audio interface. Watch the levels meters in your recording software, they should NEVER be going into the red. Turn down your input level to give yourself a little more headroom and see if that fixes it.
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Dec 19, 2008 10:33
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h_double posted:It sounds like you've got your input levels too high going into your audio interface. Watch the levels meters in your recording software, they should NEVER be going into the red. Turn down your input level to give yourself a little more headroom and see if that fixes it. Just tried that. No dice. I tried recording something with my acoustic guitar plugged directly into the mixer and that turned out ok. Not sure if that means anything. But stuff comes through really clear and fine in the mic when I'm just listening with my headphones directly in the mixer. But then again I don't even know if that means the mic is fine.
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Dec 19, 2008 10:56
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explicitkarma posted:It sounds like the level on your snare sample in Redrum has volume automation on it. Check to see if the snare level in Redrum or anything else involving the snare in Reason has a green box around it. Then right click and click "clear automation" to get rid of it. I've tried this dozens of times and I see a green box around it but every time I click "clear automation" it still does it. I tried some different snare samples and it does the same thing. I even created a new instance of redrum, set it up to match the other redrum, deleted the original and put the new one in its place and it still keeps doing it
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Dec 20, 2008 12:26
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RivensBitch posted:uk10rguy - I think you're overcomplicating things here. It makes a little more sense for sibilance/de-essing because those sounds are generally just annoying distortions, not noticeably hotter than the rest of the track, so a filtered sidechain engages the compressor when the original track might not. The ideal tool for plosives or sibilance is "dynamic EQ," which is a processor that has threshold-based EQ filters. Basically think about a compressor, only when a particular frequency range hits the threshold it engages an EQ filter rather than gain reduction. I'm not sure how common these plug-ins are or if they are always referred to as "dynamic EQ" but that's what BSS and TC call their units that do it. Those are the 2 I've used and they work great (assuming TC's EQ Station has the same algorithms as the Powercore), but I'm sure there are others that will work well too. ChristsDickWorship fucked around with this message at 03:56 on Dec 21, 2008 |
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Dec 21, 2008 03:53
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wixard posted:The ideal tool for plosives or sibilance is "dynamic EQ," which is a processor that has threshold-based EQ filters. Basically think about a compressor, only when a particular frequency range hits the threshold it engages an EQ filter rather than gain reduction. I'm not sure how common these plug-ins are or if they are always referred to as "dynamic EQ" but that's what BSS and TC call their units that do it. Those are the 2 I've used and they work great (assuming TC's EQ Station has the same algorithms as the Powercore), but I'm sure there are others that will work well too. I've usually been able to get a sidechain compressor to work on plosives if I'm concentrating the filter on 100hz and below, but your point is well taken. I have dynamic EQ on my powercore and I'll definately try that out the next time I'm working with a track like that. But of course, I usually don't run into this problem as I a) have a pop filter, and b) lately have only been working with vocalists who have enough mic technique to know not to blow their consonants that hard.
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Dec 21, 2008 09:44
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RivensBitch posted:I've usually been able to get a sidechain compressor to work on plosives if I'm concentrating the filter on 100hz and below, but your point is well taken. I have dynamic EQ on my powercore and I'll definately try that out the next time I'm working with a track like that. But of course, I usually don't run into this problem as I a) have a pop filter, and b) lately have only been working with vocalists who have enough mic technique to know not to blow their consonants that hard. There are actually compressors, like the Distressor, that have optional HPFs on the sensing circuit so even if you don't EQ plosives out before the compression, plosives won't trigger gain reduction and cause that annoying pumping.
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Dec 21, 2008 20:21
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I've been looking at a lot of USB Audio Interfaces and it seems that none of them truly support Vista 64-bit. Does anyone know of a decent USB audio interface that supports Vista 64-bit? Or should I just switch to XP-64bit and not have it affect my interface choice? edit: VVV Yeah; I bought a new PC to handle recording better, but found out after I got it that my M-Audio Black Box won't work with Vista64 as well as a lot of other things. I think I'm just going to format and put XP64 or plain XP on here. I don't really like Vista. lonequid fucked around with this message at 01:07 on Dec 22, 2008 |
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Dec 21, 2008 23:05
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lonequid posted:I've been looking at a lot of USB Audio Interfaces and it seems that none of them truly support Vista 64-bit. Does anyone know of a decent USB audio interface that supports Vista 64-bit? Or should I just switch to XP-64bit and not have it affect my interface choice? XP 64 is probably the worst of all worlds as far as driver support goes. If you decide to go Vista 64, your interface choices include: Edirol (they seem to have good Vista 64 support across the board), Presonus (not all models; the firewire Firebox and FP10), MOTU, or the RME Fireface (which is firewire, and a fair bit more expensive). M-Audio in particular is NOT Vista 64 friendly; all of their 64 bit drivers have been in closed beta for months and months. I just built a new DAW box and after much research and deliberation, I decided to stay with XP for the time being. Partly because Ableton Live is one of my key apps, and it's not officially supported under Vista 64 -- a lot of people have reported it runs just fine, but I KNOW all my apps and plugins run under XP and I didn't feel like dicking around in unknown territory without a good reason. 32 bit XP can address up to 4GB total (well, 3.5) with any given app able to address 2GB, which ought to be plenty for the forseeable future. And I know the hardware will be able to run a 64 bit OS well in a couple of years, once the drivers/apps are more ready for prime time. h_double fucked around with this message at 00:18 on Dec 22, 2008 |
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Dec 22, 2008 00:10
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h_double posted:M-Audio in particular is NOT Vista 64 friendly; all of their 64 bit drivers have been in closed beta for months and months. I have a Fast Track Pro that seems to work fine in V64 
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Dec 22, 2008 00:56
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Tanto posted:I have a Fast Track Pro that seems to work fine in V64 Ha, well that shows me for trying to make absolute statements. Nonetheless for such a popular company, M-Audio's Vista 64 support is pretty spotty for most of their hardware (the Delta, Audiophile, and all their firewire interfaces still have beta 64 bit drivers, and the MobilePre USB doesn't even have that).
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Dec 22, 2008 04:22
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Since early yesterday, Logic has been giving me this weird issue whenever I repeat a section or repeat a MIDI segment. The MIDI notes get knocked way out of whack, seemingly without any sort of logic to it. Anyone know what's going on with this? I don't believe there are any key changes or anything like that going on in the background. Here's a picture of a MIDI region that I had just repeated, then split into sections, so that you can see where the notes ended up. Excuse the potential table breakage: 
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Dec 22, 2008 20:49
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Wow, I'd forgotten how UGLY logic is. I thought apple was supposed to be all ergonomic and friendly, that software looks like skynet vomited and a DAW application was sent back in time to drive John Connor to kill himself because his MIDI wont sync up with his audio.
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Dec 23, 2008 07:00
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I'm coming from using Reaper so the thing looks like a work of art to me. But, in any case, I think I got an answer from their help forums - I had inadvertently triggerd some global chord change tracks based on one of the drum tracks, so it was translating the notes into the nonsensical chords of drums notes. 
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Dec 23, 2008 15:24
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Boy am I glad to see this forum (and this thread specifically) exists. I work full-time as a voiceover artist, although until now all of the work I've done has been in-house. However, a LOT of opportunities have been coming my way lately that would pretty much only be possible with a setup of my own of some kind. I knew it was going to come down to this eventually, but I've been trying to put it off--the thing is, I'm living and working overseas until September 2009 (although I'm home in the US for the next week and a half), so I don't want to go all out with buying gear now; I want to wait until I'm here a little more permanently so I don't have a chance of ending up halfway across the world with busted gear and no way to fix it and...well, yeah, anyway, I need SOMETHING, at least for the next year until I can get a more permanent setup. Since I'm used to being, you know, behind the mic, and not the console, I know only the very basics of recording and engineering and all that. I'm reading everything about audio production I can get my hands on, and I plan on going through everything in the OP and this thread (and this forum) as soon as possible, but I want to get started recording my own stuff within the next month or so. I have and am somewhat familiar with Audacity, and as I have limited funds at the moment I'd like to work with it as long as possible, although if there's other/better goon-recommended free software, or if there's some huge reason why I shouldn't be using Audacity, even just for the time being, I'd be open to other options. As for a microphone, because I'm traveling pretty often, I need something I can easily carry around with me, between rooms or between countries. I was looking into USB condenser mics, the kind typically advertised for podcasting purposes. Is there a particular goon-recommended condenser mic, or are they all kinda similar? Is the quality really as good as they like to make them sound that they are? Will I be able to produce professional-sounding stuff with one? If the quality of USB microphones is such that it would just be a waste of money getting one, another option I was considering was an adapter like Blue's Icicle and buying a regular condenser mic to plug into that. But would that result in a significant loss of quality? If not, is there a forum favorite condenser mic that won't break the bank, and/or a better USB converter/interface I could go with? Another big concern of mine, one that may be a bit tougher to deal with, is the noise level of where I live. It's hard to explain my living situation but it's comparable to a room in a dormitory, and the windows are completely non-insulatory to the extent that when I talk to people on Skype (using the built-in mic on my Mac, however), I've actually been asked if I'm outside. It's THAT loud. Now I'm thinking this might be partly because of the mic, but I know also that I can't ignore how much noise comes in. Is there any good way to eliminate excess noise and such without an external compressor? The only feature I've found in Audacity that would do this is one of the effects you can use AFTER recording; as far as I've seen it doesn't have a built-in noise gate. That seems stupid to me though, and I feel like I'm overlooking something very basic, because why wouldn't audio recording software not have a noise gate of some kind? And are any of you in a similar situation wherein you can't record in your own home for some reason, and if so, where do you go to record? I know I used the wrong terminology at times, so sorry for that. This is all kind of overwhelming and I feel like I have no idea what I'm doing but I'm prepared to work hard to learn. Thanks in advance! Edit: Just wanted to clarify that I AM in the process of reading both this thread and the last one, but like I said, I'm a total newbie to this so any additional advice you could throw my way would be great. Edit 2: I just remembered, I have a Behringer Xenyx 802 mixer (don't ask why). If I can use that for, uh, anything, let me know. blinkeve1826 fucked around with this message at 19:43 on Dec 24, 2008 |
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Dec 24, 2008 19:31
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Greetings, First question: I started playing guitar I guess about a year ago. Lately I've been writing a bit and want to start recording my ideas. I currently practice with a MicroCube because I live at college and it was cheap at the time and convenient. I'm looking to do some recording on my computer and trying to decide what approach to take. I would like to get an audio interface with a preamp that I plug my guitar directly into, and don't wanna spend money on an amp and microhpone or deal with finding one I really like enough to purchase. Plus that's more money than I have/would be willing to spend (poor college kid). I want something that will let me model different types of amps and combos on my computer so I can experiment with tone. I've been looking at the Line 6 Pod Studio UX2. There are a lot of effects with the software Pod Farm that people seem to like. I was pretty intent on getting one of these but then started to read about the Digidesign MBox Mini 2. These sound pretty good and Pro Tools is a favorite of everyone. So basically, the TLDR version: 1.) Can I plug my guitar directly into an audio interface with a standard 1/4" cable and still get good sound or do I need to mic an amp? 2.) What audio interface would you guys recommend for something like this? Thanks.
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Dec 26, 2008 05:32
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Reptar The King posted:1.) Can I plug my guitar directly into an audio interface with a standard 1/4" cable and still get good sound or do I need to mic an amp? quote:2.) What audio interface would you guys recommend for something like this? Thanks.  .
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Dec 26, 2008 13:50
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Is there a portable device I can use to easily record jam sessions without having to actually setup any microphones? Most of the sessions will be taking place in a medium sized bedroom. The audio quality doesn't have to be amazing, but it would be nice if the cymbal hits didn't sound completely distorted. USB or similar is a must, something under $200 would be preferable. The main goal is to have basic audio recordings of our jam sessions that we can check later to find any hidden gems that may have occurred during the session, however, it would also be nice if the audio recordings were good enough to share with friends and family without the quality being so horrible they can't enjoy the music. For reference, the setup is bass, guitar, keyboard, drums, and sometimes mandolin. Edit: Mmm I almost forgot, it would also be awesome if I could use it to record an upright piano in a large living room. OlSpazzy fucked around with this message at 16:25 on Dec 26, 2008 |
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Dec 26, 2008 16:17
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I'd like to spend about $250 or less. I want to hook up my guitar directly. The only time I'd ever want to mic something is an acoustic recording. I want decent quality but mainly good virtual instruments and digital amp modeling. With a student discount I can get an Mbox Mini 2 for about $240 and a Line 6 Studio Pod for about $200. I'm pretty much set on those two, but open to other ideas if you guys have any recommendations. Thanks.
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Dec 26, 2008 20:45
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I'm kind of in the same boat. I was going from my guitar to a little Line6 Pocket Pod just to get to line level, and then into a USB mixer (Alesis somethingorother). The results are okay, but would upgrading to a Line6 POD Studio UX2 give me a better result? I live in a crowded apartment complex, so direct input recording via VST amp modeling is my best option, and I have about $500 to spend, though I'd like to go as cheap as possible while getting a good sound. Not to mention about $100 of that will be going to buying an SR57 (for use with the mixer, which has phantom power).
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Dec 26, 2008 21:40
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I'm going to be away from my house for a while so I can't check the answer to this at home...but i'm dying to know. Is it possible to use an mbox simply as a mixer without opening pro tools? For example, if I were to perform and brought a speaker and my mbox, do I need to bring my laptop or can I just use the mBox as a mixer/preamp to my speakers?
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Dec 27, 2008 10:02
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k0konutz posted:I'm going to be away from my house for a while so I can't check the answer to this at home...but i'm dying to know. No, the Mbox is powered by USB so unfortunately it's not possible.
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Dec 27, 2008 17:23
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Elder posted:No, the Mbox is powered by USB so unfortunately it's not possible. I should have mentioned that I have the mbox 2 pro that has an a/c. Still no?
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Dec 27, 2008 19:20
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k0konutz posted:I should have mentioned that I have the mbox 2 pro that has an a/c. Still no? Try it and post a trip report.
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Dec 28, 2008 04:59
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RivensBitch posted:Try it and post a trip report. Will do, just wondering if I could have answers before I return home after new year's.
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Dec 28, 2008 09:28
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I used to record with a MZ-R50 and minidiscs that were lying around until I ran out of minidiscs and realized they were expensive. I picked up a Behringer UCA202, and it's been really excellent so far. Great little USB thing for $30, and it gives my computer a real line-out too.
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Dec 29, 2008 23:33
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| # ? May 23, 2024 15:41 |
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What are some really good resources to learn to use Ableton Live from the point of view of a total beginner? I see ads for online courses via Berkeley School of Music etc, does anyone have any experience with that? How about for Logic 8? XYZAB fucked around with this message at 05:21 on Dec 31, 2008 |
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Dec 31, 2008 05:17
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