Personally, I don't like the sound of direct inject bass guitar.
even mixed in.
Personally, I don't like the sound of direct inject bass guitar.
even mixed in.
I’m a big fan of the Ashdown Lomenzo Overdrive pedal because it allows you to dial the distortion into just the high end frequencies you choose and then dial back the mix so that it plays clean when you play softly and growls when you dig in, without losing the bottom.
It’s kind of a secret weapon.
Monitors are an intensely personal choice.
it really comes down to what the speakers make you 'do' in your recording and mixing and how well that translates.
But speakers that work great for one person often don't for another.
Personally, in that choice, I'm JBL all the way.
Isn’t this a discussion of “tips and tricks”?
And NOT a discussion about a third party profile?
the best, and most useful, audio gear is designed by people who know the "hard maths" and who also are responsive to the artists who actually use the stuff.
the worst is designed by people who think they can tell the guy who recorded Sgt Pepper that the "can't hear" something when he does.
The Pro Tools HD system interfaces use switchmode power supplies, I believe, and there is really no way to eliminate the RF hash that these supplies introduce into the AC supply. AC cables can become powerful transmitters of this RF energy. These "special" cables that you sent have a tremendous braided stainless shield which should prove very effective in blocking a lot of this energy. Some RF energy can be so powerful that it can introduce common mode signals beyond the capabilities of active input circuits. I have discovered that here in manhattan, on the seventh floor, there is a tremendous lot of RF from cell "towers" , WiFi, and the usual radio signals. I have modified much of my gear to include really high end input transformers, and the improvement in sound quality is remarkable. I believe that this is due to the near invulnerability to RF my system gained with this simple mod.
I've long been convinced that differences in wire sound are caused by the wire's effect on the gear's sensitivity to RFI as opposed to any effect on the signal passing through the wire.
once again, I don't PERSONALLY necessarily huy that power cabling is worthwhile area to fret about.
but all I AM saying is that reputable, smart, experienced, talented people tell me it's worth paying attention to and I am unwilling to just dismiss what they say out of hand because "the internets"
at the risk of rabbit holing:
it's bit like the '96k doesn't make a difference' arguments.
thats great on gearslutz.
in the actual record making world, all the high end guys I know (and I know them all) work at 96k of not 192.
but if you'd rather take advice from a bass trap shill, feel free.
won't bother me.
Over the years I've seen numerous blind-tests of cables, mostly speaker cables, and testers routinely fail to hear any difference between decent quality cabled and overpriced snake-oil products.
again, the difference between "most people" and "anyone"
most people can't tell the difference between 1 cent sharp or not. but SOME people can every single time
it's fine if you don't hear it.
but once you start to say "NO ONE" can hear it, you're losing the plot
unless you're invested in the "nothing matters' internets philosophy. which is your right, but it's not where great records are being made.
If'f someone can hear it it is measurable. If it is measurable it is science.
When it comes to power cables never heard of publications that prove that some high class gold power cables have any influence on the audio quality.
it's undoubtedly "measurable" IF you know what you're measuring.
as I said in the examples, it doesn't always mean that people measuring either know what to look for or are convinced what they are measuring is "audible"
there's a lot of internets "myth busting" that works great for hobbyists
Science doesn't care what you believe.
and, with respect, the people who make high end records don't necessarily care whether you are convinced they know what they're hearing or not.
there is the (relatively) famous story about Geoff Emetic complaining that AIR's new desk had a channel that just didn't sound "right' to him.
They took it out and benched it several times and couldn't find anything wrong with it.
Eventually, after he continued to complain, Rupert Neve came in (it was his design) and tested the module and discovered that it had an anomaly at 56k Hertz! Now anyone would quite sensibly 'argue' that no one can hear that high, and neither could Geoff.
But he clearly and repeatably, heard something that the anomaly in the super highs was doing to the audible range. Even though normal testing didn't show it and no one else could hear it.
Similarly, Record plant NY had 4 rooms. At one point Shelly Yakus complained that he heard something wrong with the power amp on the lows of the right speaker in one of the rooms.
they took it out and checked it, and it checked out perfectly. They put it back.
Few days later, Shelly is back in the room and again says "hey, that amp is still there. it sounds wrong".
So they swap out the amp and he's happy, and they send the offending amp back to the manufacturer (it's a Bryston) to be checked out.
Bristol finds nothing wrong with it either, no matter how they test it.
They send it back.
Record Plant puts it back into service but upstairs in the mix room, not back in Studio A.
Months later, Shelly walks into the mix room (for the first time in a while) hits play and immediately points his finger and exclaims: "There's that fucking Bryston!"
I don't discount the people whose work I know is stellar when they hear things I can't.
once again, "I can't hear it" and "most people can't hear it" is NOT THE SAME THING as "no one can hear it".
and if only ONE person can really hear it, then it's real.
It only means you're not testing for it correctly.
high end recording studios spend a lot of money on regulated and balanced power... the way you power audio gear matters, including digital gear.
all I'm saying is that some serious pros i know, who really know what they hear, swear by high end power cabling. (Ross Hogarth comes to mind).
I'm not prepared to discount what they hear because i've seen it too many times where people like this hear things others cannot.
Without wishing to open up a huge internets rabbit hole here I will just say this:
when it comes to pro audio especially, there is a huge internets cottage industry of armchair “MythBusters“ who love to sell a “nothing really matters“ philosophy
and one can see why that philosophy is appealing to people operating at a hobbyist or semi pro level
So, It would be comforting on some levels to believe that pros are just fooling themselves with their $20,000 microphone and really you can do anything you want with $100 SM 57 etc.
but I know I’ve said this before that if one person can hear a difference repeatedly (your Eric Johnson example, or I could give you many others) then the phenomenon genuinely exists, and it doesn’t matter or “disprove” that phenomenon if 95% of other people cannot hear it
If you want to say that for what you do you don’t “need” a $20,000 microphone, or that not having that microphone shouldn’t stop you from doing what you need to do, those are entirely valid points of view .
But don’t say “no one can hear the difference” or “ no one needs one”
So again I remain unconvinced that a pricey power cable makes enough of a difference that I should have to worry about it
but that doesn’t mean I’m prepared to dismiss the possibility that some people hear it, some people care and some people can afford to make everything sound as good as they possibly can
I know I’ve demonstrated for myself that relatively expensive guitar leads and mic cables for example make a difference and are entirely worth it to me
I will just introduce one other small tangent possibly which is that in my view the stronger the power supply design in a device the less important outside power tends to be but power supplies are often where manufacturers unfortunately cut costs
Let’s just say that I find my taste runs toward the opposite of all three ‘tips’
But whatever works for you.
Although I’m skeptical about the value of high priced AC mains cables, I will say I know some very smart and talented producer/engineers who swear that upgraded cables have made audible improvements in their gear.
And these are not people whose opinions I’d tend to dismiss.
I know lots of FOH guys who simply don’t want to have to do monitors at all.
Not different with IEMs
I know I’m spoiled. But a dedicated monitor engineer is the only way I’d really trust IEMs.
Otherwise I’d rather a wedge.
How long do you guys play in a typical show???
Our routine is that our monitor engineer changes everyone's Batteries (AA in the Sennheiser receivers) before every show.
Then next show day we soundcheck in the afternoon using those same receivers (with their day or two old batteries)
If soundcheck goes long enough that those batteries are no longer working then we change whoever needs to be changed. But most often they are fine still.
Then, after sound check, before show, again, everyone gets new batteries.
I’ve never had batteries die like that.
They certainly last a lot longer than the 2 hours or so we use them.
I know people do it, but I can’t see using in-ears without a dedicated monitor mixer/engineer.
Otherwise you’re locking yourself into having to live with whatever problem occurs during a show.
It depends on how many ins and outs you need.
But these days I think the Antelope Audio stuff offers the best “bang for the buck”
Disconnect the Kemper from the Apollo completely.
Plug a mic into the Apollo and do what you I’ve to do so that you are hearing yourself speaking into the mic through your phones.
Now yank the XLR out of the back of the mic and plug it into the Kemper Main Out.
You’ll hear the Kemper.
Because the mic and the Kemper are both just analogue signals.
The Kemper has no way to ‘know’ the sample rate farther downstream anymor than it would ‘know’ what tapespeed you were recording.