Posts by lightbox

    If reliability is key and if you don't really miss any of the new features ... stick with V6 for some more time.

    While I don't have many issues with V7 as long as I keep my profilers away from Rig Manager ... V7 requires RM3 and RM3 still is quite an unpredictable mess, tbh.

    If Kemper decided to add an option to completely deactivate / unload / get rid of the editor portion, it might become just as fine as non-editor Rig Managers were. At least I'd hope so because right now, Rig Manager / Editor is way more source of trouble than source of help (to me).

    Hi Per, glad you're happy so far. :)

    I know the HS8S doesn't have a "remote switch" option to enable/disable bass management. And you described your setup as using Y cables and the ALT monitor option of your interface. Does this mean that you're not using a HiPass for your Focals? You just add the subwoofer to the game?

    Have you even tried to use the bass management (crossover) of the HS8S before you went for the Y-cable route?



    Verkabelt habe ist das momentan so, dass vom SPDIF OUT ein BNC RCA 50 Kabel in den WORD CLOCK IN Eingang des Scarletts kommt.

    Frage: ist diese Verkabelung korrekt?

    Nö, ist nicht korrekt und kann so auch niemals funktionieren. Word Clock IN ist kein Audio Input, Word Clock ist lediglich ein Synchronsignal, um unterschiedliche digitale Audiogeräte synchron zu takten.

    Lange Rede, kurzer Sinn: In den Scarlett Octopre kannst du keine digitalen Audiosignale reinfüttern.

    Hi Per, I'll try to explain with your situation in mind.

    1. Your Focals are pretty small (5" woofers) which limits the physical capability of "moving air" in the low end. An 8" speaker can change this significantly. But continue reading. :)

    2. If you try to squeeze "enough" low end out of the small 5" woofers (e.g. by pushing a low shelf EQ), the woofer will become pretty "busy" with the added low end and the projection of the mids starts to suffer. That's where #3 comes into play.

    3. With small speakers, a subwoofer can significantly reduce the low end load on the 5" woofer and improves the mids quite a bit. Can be very audible (especially in the mid frequency transients). Since kickdrum and bass typically live in the center of the stereo image, one subwoofer usually is enough .... but ....

    4. The sound generated by the subwoofer should be "in phase" with the main speakers. With a direct projecting subwoofer this is much easier to achieve. The reflex designs always introduce some pretty "undefined" delays. You want to have a subwoofer that sounds like BOOM ... not wWOOOOOMMM.

    5. Subwoofers with pure reflex designs tend to add a considerable and unwanted "wind noise" to the sound. The higher the SPL, the higher the wind noise effect. If you look at the Pro Audio category on the Focal website, you'll not see these pure reflex designs. ;)

    6. The bigger your main speakers (woofers), the less you'll generally need subwoofers. With bigger monitors, you'll likely do perfectly fine with 2-way designs in a small home studio. In a slightly bigger studio (control room) where you typically push the speakers a bit harder, it's worth considering 3-way speakers to seperate lows and mids.

    7. If you're into mixing, then "phase" is an important topic. The stereo image gets much more "transparent" and defined, the more your tweeters and mids are exactly in phase. This is the reason why e.g. the german company KS digital makes studio monitors that blow Neumanns or Genelecs totally away. KS digital has really perfected their coax designs that eliminate the slight phase issues. If you happen to listen to them (C120, C88 or even C8) once in your life, you'll not forget that experience. :)

    Hope this helps a bit



    Clock, as you put in parenthesis, is frequency. Sample Rate is frequency as well, e.g. 44.1kHz. Both have to match throughout the entire chain ... in other words, all participants have to speak the same language. The clock master decides the language to be spoken, all slaves have to follow.

    It's not that difficult to understand and Kemper hasn't invented the principles of digital audio. ;-)

    i'm in this industry for a very long time and never came across this a single time

    Let me put it this way ... it's not unheard of in this and many other industries that (some) publications have clients frequently booking ads and in return they publish articles/reviews to please these clients.

    There's many subtle ways to "pay for publicity" other than the direct way. ;)

    To say it with Shirley Bassey:

    So let me get right to the point
    I don't pop my cork for every man I see
    Hey big spender,
    Spend a little time with me

    new interfaces won't come with spdif, only adat optical

    There are converters for that

    Don't forget to check whether the ADAT optical ports can be switched to optical S/PDIF mode! Even though both are optical, they're not the same and the interface needs to support the S/PDIF mode.

    Also check whether the interface supports direct monitoring for the digital inputs, there is some that don't.

    As always ... it depends.

    With a line level signal and 1m cable length, differences will be negligable (inaudible).

    With a weak mic level signal and a 9m+ cable length, things can already be quite different if it's a cheap cable.

    In a massively equipped pro studio, cables can make quite a difference due to long total cable runs through various outboard gear in different racks all over the place. In a home studio this isn't typically a major issue.

    Just go for quality mid priced cables in the price range of 25-40 Euros for a 3m cable and you should be perfectly fine.