Recording using spdif...worth it??

  • So is it worth it? I use a cheap focusrite 8i6 that simply won't sync with kemper to use spdif. Problem is that the ad/da converters are not that good. All my tones are colored for the worse. I seem to have to build a separate bank of profiles to use with this system. It's a pain and in the end I can't help but think that spdif is a better solution. What's your experience using spdif? I don't care about revamping at this point. Just strictly sound quality. Many times I tweak tones via headphone port on front of kemper but frankly everything I plug into after that sounds like shit. Help please.

  • I can't tell you anything in common with focusrite.
    I have a Zoom U-44.
    At first I played from Kemper over Main out to Zoom inputs.
    Later I tested the line connection.
    At last I checked out the digital way.
    My experiences:
    The digital / spdif is much better! Best of all.

  • If it's "much better", it indicates to me that your interface's A/D conversion isn't stellar, Kulle.


    If said convertors are decent, there should be practically-no perceptible difference between the sound of the analogue and digital outs.


    I mean, if there was, it'd mean that the KPA's output convertors are sub-par and that the designers therefore skimped on the most-used-and-important component of the Kemper - the analogue outs.

  • @Monkey_Man
    I am always thrilled by your polished English Monkey.
    It is always a pleasure to read in times of 140 character texts. :thumbup:


    However, I can not follow the content as I understood it.
    I think the Kemper gives almost the same qualities at all outputs.
    The question in my humble opinion is: What makes the interface with it? How does it transform line information into digital information, for example? I think here is the main problem.
    If we use the digital spdif-Standard we only pass the digital information. Therefore: What the Kemper leave is what you hear. (WTKLIWYH) 8o
    For that reason I'm absolute convinced that the digital way must be the best. Kemper=>Interface=>Computer

  • For that reason I'm absolute convinced that the digital way must be the best. Kemper=>Interface=>Computer

    Well, some people might like a certain coloration of their interface. A lot of the time, for many commercial sellers, such colouration is already included in the profile, however.


    That said, a decent interface shouldn't color the sound too much - I would have NO reservations using the XLR outs from my Kemper into my focusrite interface, sound wise (workflow-wise it might be a different story).

  • There are a couple of reasons to go via analog, you may already have something else connected to your spdif, you may not be running projects at 44.1k, and/or you may have your own studio word clock and want everything clocked to that instead of the Kemper.


    Otherwise I'd recommend spdif over analog, it frees up analog inputs, is only going to be more pristine and true to source, and theoretically the removal of a DA and AD conversion could slightly reduce the latency.

  • @Monkey_Man
    I am always thrilled by your polished English Monkey.
    It is always a pleasure to read in times of 140 character texts.

    You, sir, are a gentleman. Thank you, matey!


    However, I can not follow the content as I understood it.
    I think the Kemper gives almost the same qualities at all outputs.
    The question in my humble opinion is: What makes the interface with it? How does it transform line information into digital information, for example? I think here is the main problem.
    If we use the digital spdif-Standard we only pass the digital information. Therefore: What the Kemper leave is what you hear. (WTKLIWYH)
    For that reason I'm absolute convinced that the digital way must be the best. Kemper=>Interface=>Computer

    It all comes down to the quality of the A/D (analogue -> digital) convertors on the interface, Kulle. Obviously the ones used on the Zoom aren't exactly great, which is why you're hearing a big difference; you shouldn't be able to tell them apart IMHO. In this case, you're better off going with S/PDIF, something I would do too if I wasn't planning on buying an extremely-high-quality interface.


    Yeah, of course :) Good point

    Nothing wrong with the TS outs IMHO; I'll be using them via 1/4" leads to my interface. No need to use the XLR outs unless feeding XLR ins, IMHO.

  • Nothing wrong with the TS outs IMHO; I'll be using them via 1/4" leads to my interface. No need to use the XLR outs unless feeding XLR ins, IMHO.

    It's always a good idea to use balanced connections if available. So I would avoid TS as long as the balanced XLR is available. The special thing about XLR->TRS in this case is the fact that Focusrite automatically "detects" if an input signal is mic level or line level just by the connection method in the combo jack. TRS = Line level ... XLR = Mic level.
    To avoid the Kemper signal to run through the Focusrite preamps, just use TRS on the Focusrite. Technical detail many aren't aware of. ;) And no big deal to get XLR->TRS cables.

  • Ah... of course, mate; Michael's using a Focusrite with combo jacks. Thank you, Lightbox.


    I was speaking for my situation, not realising this. In my case, it'll be a MOTU 16A - TRS input jacks only. The short run to the interface, which'll be 4 RU spaces below the Kemper, means that IMHO there'll be nothing to be gained by going XLR -> TRS via adapter cables.


    I'm happy to be proven wrong of course, in which case I'll go the the XLR route, but it seems a no-briner to send the Kemper's XLR outs to my monitoring desk (to its XLR ins), whilst simultaneously routing the TS outs to the interface for recording. Thank God the Kemper doesn't skimp on op amps and allows this to be done, unlike the Slate VMS wedge-shaped mic pre, for example, where you can only use one of either the XLR or TRS outs at any point in time.

  • It all comes down to the quality of the A/D (analogue -> digital) convertors on the interface, Kulle. Obviously the ones used on the Zoom aren't exactly great, which is why you're hearing a big difference; you shouldn't be able to tell them apart IMHO. In this case, you're better off going with S/PDIF, something I would do too if I wasn't planning on buying an extremely-high-quality interface.

    We can discuss it in another way too:
    If some people use audio cinch wires instead coaxial wires so the s/pdif can't reach the digital quality. ;)
    And to colour a sound @Michael_dk should be reserved for myself and shouldn't lie in the hand of the interface. My point of hear. ^^


    If I transfer a sound I will hear the same sound with headphones at Kemper and at interface and after recording. If not, then I don't need a interface of course.

  • @OP: I have the same interface and no problems with syncing. Did you switch to SPDIF inside Mix Control? Also switch everything to 44.1 khz and 24 Bit. KPA is always slave master.


    I recently compared the sound via SPDIF vs. Main Outs (Adam A5X here) and couldn't tell a difference. So soundwise there's no advantage in using SPDIF imho.

    I could have farted and it would have sounded good! (Brian Johnson)

    Edited 2 times, last by Kempermaniac ().

  • For me it depends on the quality of the preamps.


    Some preamps add "color" I may want in my tone.


    Other preamps/interfaces do not, and result to a worse tone than going SPDIF.


    However even in something like a scarlet 6i6 old gen the preamps are very good.


    SPDIF gives me a bit more treble.


    I use SPDIF not so much for tonal reasons, in this case, but for convenience.


    I prefer the tone to my 6i6 preamps too though and can usually spot differences.

  • I started this thread because I wanted to record my part for my bands recording using spdif. I was prompted to do this because I always feel that my daw monitoring isn't as crisp and full as it sounds coming straight from my headphone out jack on front of kpa. This is the sound I'm trying to achieve but alas I have abandoned the spdif quest. Partly because it sounds as if the audio quality difference is likely to go unnoticed and mostly because other members of band already recorded their parts into Studio One using sample rate of 48. I don't want to screw the work flow up for such a minor difference in quality. I appreciate everyone's insight on this matter. It has laid my questions to rest...at least for now.


    FYI- I'm new to the kemper and loving it however what's up with no editor?!?! Really? These front scrolling buttons are going to fail soon from being so worked over. Not only mention being frustrating....but that's for another thread.