Posts by lightbox

    Das weiss ich, aber Manual sagt explizit "2 separate TS Jacks", das bedeutet die Inputs sind auch für TS gedacht....oder interpretiere ich es falsch?

    Das bezieht sich auf diesen einleitenden Satz:

    Quote
    Die Funktion „Auxiliary Input“ erlaubt es, ein Stereo-Signal z. B. von einem MP3-Player zuzuspielen und dieses mit dem Instrument zu begleiten.

    Ein MP3-Player oder ähnliches hat natürlich keine symmetrischen Ausgänge wie z.B. ein Mischpult oder Audio Interface. Der Stereo-Kopfhörer-Ausgang von MP3-Playern muss dann mit einem Y-Kabel von stereo auf 2 mal mono (unsymmetrisches TS) gesplittet werden.

    Asymmetrisch / Symmetrisch hat erstmal nix mit mono / stereo zu tun.


    Versuch einer kurzen Erklärung:

    1. Ein normales Gitarrenkabel ist mono und asymmetrisch (TS / Tip & Sleeve). Gewissermaßen die simpelste elektrische Übertragung von Mono-Audio über 2 Drähte.
    2. Ein Mikrofonkabel (XLR) ist ebenfalls Mono, hat aber 3 Drähte und ist symmetrisch. Diese Art elektrischer Übertragung von Mono-Audio hat den Vorteil, dass sie externe Einstreuungen z.B. von parallel laufenden Stromkabeln verhindert ... durch die symmetrische Signalführung via Ausgangs- und Eingangsübertrager.
    3. Line Level Signale können ebenfalls symmetrisch übertragen werden (über XLR oder TRS / Tip, Ring, Sleeve). Die symmetrischen Klinkenkabel sehen zwar aus wie Kopfhörerkabel ... sind aber wie XLR Kabel für (symmetrisches) Mono-Audio gedacht.

    Ein Kopfhörer hat zwar ebenfalls TRS / Tip, Ring, Sleeve ... nutzt diese 3 Drähte aber nicht für symmetrische Übertragung, sondern für die asymmetrische Übertragung von 2 Audiosignalen (links/rechts).

    Sound Engineer:

    Someone who has learned all aspects of sound production (technical and artistic) and has enough experience and knowledge to deal with musicians, musical performances, the rooms where the performance takes place and the technology at hand.


    Sound Technician:

    Someone who has been trained just enough to plug in microphones, do line checks and (when you're lucky) has learned how to deal with musicians. But he/she still lacks the experience and knowledge to properly deal with rooms, PA systems and mixing desks.


    Sound Guy:

    Strongly pretends to be a sound engineer before the gig and blames the musicians during and after the messed up gig. Will be massively overburdened with most tasks. Will try to convince everyone that he did the band a huge favour when he offered his low-priced "service" and will prove his point by being the laziest and most unmotivated person in town.


    Musician:

    Often someone playing an instrument good enough to gig but trying to mess around with their sounds to compensate for only hiring a budget sound guy.


    ;)

    I don't exactly understand, sorry. :)

    What I'm referring to is that you want to morph a booster (inside the Profiler) and you experience that at some point instead of boosting further the level seems to drop slightly. If this does NOT happen on headphones on the Profiler, it has to do with your poweramp. But if it DOES happen on headphones, it's the intenal limit of boosting you run into.

    connect the main TS outputs with two TS to RCA cables

    These monitors don't have RCA inputs.

    You'll be using an audio interface? Or do you want to just go straight from Profiler to these monitors?

    If the latter is true, just go from Main Outputs of the Profiler to the inputs of the monitors with regular XLR cables.

    And as mentioned by Kemper Support, turn down the volume knobs of the monitors before you connect them!

    In my humble opinion, a lot of this has to do with sitting alone in your room and getting something done "on your own". Nowadays it's cheap to setup a little homestudio ... and that's great. But it also has plenty of downsides. The purpose of pro studios isn't to provide you with pro hardware and a guy who presses the record button for you while sucking cash out of your pocket.

    It's also the communication, advice, suggestions from another pair of (good, experienced and musical) ears. A good engineer / producer will help you tremendously to move forward and get your job done. He will tell you when a take is fine and done (and why) and how to proceed. Over the last 3.5 decades I've seen so many artists struggeling for months to get anything finished ... and once they hit the studio, they are shocked how they can finish an album within a week only.

    It's too easy to get obsessed with minuscule details you think you need to "fix". And even if you keep working on these details for days or weeks, it rarely gets better. It's amazing how often a first take or maybe second take will be the one ... rarely the 37th take of the same. :)

    And by the way, it's also fun to work with someone (or more than one). It might take a little to find the right person to work with, it needs to 'click'. But once you find the right one, it's eye opening. Being a lone wolf or caveman often is a huge hindrance for projects. Exceptions prove the rule, haha.


    Just my 2cents (and years of experience and observation), of course.