Yep 
Get the sensible headroom right on USB, and you should have the same headroom at all analog outputs when set to 0dB (You may obviously need to lower analog outputs, depending on the receiving end).
Posts by Trazan
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If you peak through a digital transfer, you have your rig set too loud. Decrease rig volume.
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Using a toaster and Pro tools , has anyone done this successfully yet? I need to keep Focusrite as an input in pro tools as well as the Profiler. I haven't been able to a live output with the USB. If I have to switch back and forth I pro tools then I may as well stick with SPIDF
Yes, made an aggregate device on the Mac. Audio interface + Kemper combined inputs/outputs.
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can we expect 48khz for USB audio in the future?
Any other choice than 44,1 does show in italic in Logic's audio setup, but choosing 48k seems to be working fine here! I've set up the Kemper/Macbook as aggregate device with Kemper as clock source. Could be realtime rate conversion happening on the Mac, I dunno...
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The negative ducking values would have been very nice if it was applied to the "send" signal (pre effect). Meaning, playing harder would send a stronger signal to e.g. delay. As it is now, applied to the effect itself, it has somewhat limited use cases.
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Display MoreThe key is to get a flat response. Studio monitors are probably the best options for flatness.
PA speakers and home stereo speakers may be designed to add some highs and lows because that is what our ears like to hear. One of the pros can probably quote some Harman curve or something that shows the exact freqs we like.
PA Speakers may also be designed to operate at very high power without blowing up. And frequency response is a 2nd worry after getting it to not blow up. No one cares how flat it is at 1000 watts
So if you are going to play at reasonable volumes, studio monitors. If you are going to crank it, maybe a PA speaker, FRFR, Kemper Kab/Kone etc...
There is no right answer.
There is never flat. It's variations of fullrange. And frequency response is only one part of the equation.
Oh, we do very much care about frequency response on even the biggest of PA's
I also work on a multitude of studio monitors, and they all sound different. The key is to get to know it. To know how familiar music sounds through it. That way you can mix, or tune sounds, with confidence.But yeah, if you're going to use your speaker live, tune sounds at live levels
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Oh man, that "FRFR" internet construct is just annoying
It's fullrange speaker, or "FR" if you want. All those speaker thingys designed for music playback (As opposed to cabinets designed for instruments).
Home stereo's, nearfield, midfield or farfield monitors, PA's or whatever. They all sound somewhat different, for better or worse.
Chose speakers that music sounds good/right though.
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Keep gain on your interface at 0dB, and no pad engaged. Set your Kemper at whatever gives you an appropriate level.
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The R in that equation is the input impedance of what you are plugging the TS lead into, as I understand it. What do you think the output and input impedances are if you are running out the KPAs TS output into a mixer or amplifier?
600 -> 10k maybe? It's too low for capacitance to be of concern. A passive guitar -> amp would be around 5k -> 1M.
R = source impedance in your calculation. You have to put brackets on it, btw
1/(2pi x Zout x Capacitance) -
TS cables act as an RC filter - they low pass the signal, just like a guitar lead plugged into an amp, pedal or interface. The longer the cable and the higher the capacitance per meter the cable has, the more the treble roll off. ( roll off freqency is 1/2 pi RC where C is the cable capacitance and R is the input impedance).
Not really. With a high impedance source, like a passive pickup, cable capacitance will create a low pass filter...but that's not the case in this scenario.
The differences the OP heard is likely either lack of level matching, or the mic preamp colouring the signal.
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Did you use the same outs for the FOH and the IEM mix?
I guess so, but want to make sure.
Yeah, his IEM mix was sent from an aux on the FOH console.
I'm suspecting a badly tuned PA/room or some other bad processing on your guitar's path through the console.
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If you need all of those simultaneously, I'd do this:
Stereo: XLR's
Mono amp + dry guitar: S/PDIF
Leave all outputs at 0. The Apollo should manage the line output of the Kemper....Or, does the Apollo in fact accept line input on its XLR connection? If not, you'd need XLR to TRS cables, or just use T(R)S. Or use XLR and attenuate the Kemper's output
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I personally use the same rigs for all of my guitars. I tread them exactly the same way I do may amp and pedal board.
My comment was on changing between guitar and active bass
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I would love to have an input-auto-adjustment.
When I switch from guitar to an active bass I often forget to change the input parameters (which aren’t intuitive for me).
Would be great not to have a need to think about that. ?
I don't get it....Do you use the same presets on both? Input can be set per preset.
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I left Pro Tools some years back because of the subscription costs. And because Logic Pro offered so much more on the creation side of the process (instruments, sounds etc).
For Mac users, Logic is a no brainer
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Yes this is what I mean with +10db from the preamp I get -8db with TRS cable.
Why not use XLR with line in?Can you use the XLR inputs at line level on that interface? If not, I'd just use TS cables. Or XLR to TRS cables if your interface has balanced jack inputs.
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Ok I found it. It says mic gain 0-60 and Line gain -10 - 50db. Even like that I'll have +10db gain which will make it -8db at max. Which still is strange to me. The V-twin mesa preamp would peak the line input at its maximum volume.
No...minus 10 dB to plus 50 dB for your line inputs. Meaning you'd have to dial 10 dB up from that to get to 0 dB.
Or did you mean you did exactly that and got peaks at -8 dBFS? That would mean just 8 dB of headroom in both units, which is more than high enough...
You can't drag a guitar tube preamp into the equation
It's a very different thing. And it's not like higher voltage out = better quality. -
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Yes I use the line ins in my audio interface, with XLR I get much more volume than TRS cables.
Perfect match is to be at -18 to -12 db? My interface (audient sono) has gain controls from 0-10 in the manual it says:The Gain controls allows to set the amount
of input gain anywhere between 0 and 60dB
which is more than enough for even the
quietest of microphones.
I have it at 0. Where did you find that the range is from -10 to +50?
And for scarlett 2i2 it's from -4 - 46dbIt said -10 to +50 for line input on Audient's page. So when you have the knob at 0 you may in fact be attenuating 10 dB?
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Ok guys I used an xlr cable from Main output and the volume increased like 20db. This might be the normal I guess. But why does the volume decreases dramatically when I connect the kemper through a TRS cable?
No, the XLR outputs are 6 dB hotter, and you are now likely hitting the mic preamp on your interface.
Unless you can actually chose line level for the XLR inputs on your interface, just use the TS outputs.
Both your interface and the Kemper has 0 dBFS at +16 dBu. Should be a perfect match. I see that your interface has gain control from -10 to +50 for line level. Sure you don't have it set to -10?
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Have you seen the TV series LOST? Because I am now in it.
I have Kemper Main Outs using TS cables to my Interface. I have my Kemper main output volume level at -12db. If I raise it to max at 0.0db then my signal will clip inside my DAW... but then all I would have to do is lower the gain knobs on my interface to compensate to get the signal to fall back into the (-12db to -6db) recording range. Vice-versa on this if I lower main output level down to -66db (before infinity).
So what is the optimal main output db to go into DAW to get optimal tone, or is the optimal tone there no matter the signal strength?
It's just a matter of analog gain staging. Avoiding unnecessary gain/attenuation. It's not a good idea to attenuate the Kemper's output...just to bring it back up by adding gain on the next stage (interface).
If possible, leave the Kemper output at 0 dB (no attenuation) and don't add gain (noise) at the interface.
