Those panels are PVC they will reflect sound not absorb it.
1. Even if they were made of acoustic foam, the maximum thickness of barely 2cm wouldn't do anything meaningful in terms of absorption.
2. With one panel being 50x50cm and only 2cm high, the surfaces can't have enough of an angle to really diffuse anything properly.
Bottomline:
Total waste of money
1) Ohh good one although personally I prefer the purple sunset.
I agree that purple sunset looks awesome but they do have a pretty slim neck. Only the Dark Lord has a chunky 59 Les Paul kind of neck.
I think I see now, the device comes with a special connection that then splits into SPIDF, I am learning!
Yes, it comes with a breakout cable for S/PDIF IO and AES/EBU IO.
The audio interface is 9.5" wide only ... so not enough space for dedicated connectors on the backpanel.
Sorry for the newbie questions but all around I am getting my feet wet :).
... am I showing my audio engineering noviceness?
Sorry if my questions seem wacky, lots to learn!
Let me tell you ... yes, of course a lot of this is new to you. But we have all started at some point. The important thing is, you actually want to learn, nothing else matters. 
With the RME UCX II, what configuration would you recommend (for Kemper and mic pre-amp)?
I am not sure there are enough connections to have a dry signal (usually via SPIDF), XLR (I think I need two just for this L/R) and then also a mic signal from a mic preamp?
I would recommend the following:
1. Profiler S/PDIF Out (Master Stereo) -> RME UCX II S/PDIF In
2. RME UCX II S/PDIF Out -> Profiler S/PDIF In (provides clock from audio interface to slave the Profiler and at the same time the left channel of the S/PDIF can be used for reamping).
3. Profiler Direct Out (Git Studio) -> RME UCX II Line In 5 (to record the guitar DI signal)
4. dbx 286s Line Out -> RME UCX II Line In 6
This way you still have 2 more unused Line inputs on the backpanel plus 4 more inputs on the front panel. And if you need even more inputs in the future, you still have ADAT which you can use to add 8 more channels (at up to 48kHz). So there's plenty of inputs (and outputs) you could use in the future.
If you manage to get this audio interface, you should try and compare the SM7B through your dbx vs. the mic preamp of the RME.
The RME mic preamps have up to 75dB gain and a 25% higher input impedance than the dbx. Might end up being a better suited mic pre for your low output mic.
What if I wanted to use SPDIF for dry signal and then L/R (XLR or 1/4), would this still work
Of course it would work even though I don't do it this way (my studio in Germany is built around the RME UFX+ and my studio in Kathmandu, Nepal has the RME UFX II). If you want to do it like you wrote, just make sure you go XLR female -> TRS from Main Outputs of Profiler to Line Inputs on the audio interface. This gives you a balanced connection.
... then maybe from ADI 2 L/R output to another L/R input on the interface (1/4), my microphone would connected to a preamp which then connects to the ADI-2 ...
I would not do that even though it would work, technically.
1. I don't see an advantage of running your mic preamp through the ADI-2's AD and DA stages just to end up with yet another AD stage in the audio innterface. In my opinion it's one redundant conversion. If you really want to use the ADI-2, at least stay in the digital domain and use AES/EBU to go from ADI-2 into the audio interface.
2. The converters in the RME UCX II are exceptionally good within their limits (up to 192kHz sample rate PCM). I highly doubt you'll do DSD music production or even 384kHz or 768kHz. 
To be honest, I think you'll be pleasantly surprised if you skip the ADI-2 and connect your mic preamp directly to a line input of the UCX II.
1. Windows
2. ADI-2 PRO FS R is a pretty sweet converter, I would like to run my mic pre-amp through this and then into my interface (so I assume an interface that is compatible)?
Ok, great.
As far as I understand so far, you would like to hook up your ADI-2 to the interface and at the same time your Profiler via S/PDIF. There is one interface that would fit your needs pretty much perfectly ... and that's the RME UCX II. It gives you the option to connect your ADI-2 via AES/EBU I/O and at the same time your Profiler via coaxial S/PDIF I/O.
If your Profiler is a relatively new rack or head ... or the Stage ... it would be the perfect scenario because you can keep the UCX II as the master and slave Profiler and ADI-2 to it.
Also, the UCX II allows for multiple custom loopback mixes that are all independently available as WDM devices on Windows. Brilliant for streaming! And I don't know any other audio interface manufacturer that offers this powerful feature.
Check it out and if you decide to go this route, I'm always happy to help.
I'm rich, what is a great interface for loopback?
Before I anwer your question and congratulate you for being rich ... let me ask you 2 questions:
1. Are you on Windows or Mac?
2. What do you mean with "work with the ADI-2 PRO FS R"? What exactly are you expecting?
You mentioned live streaming music production ... and to achieve that it's very helpful to have an audio interface with flexible loopback features. Focusrite has a history of being pretty limited in this regard. I think you'll find out as you go. On the positive side though, you got an interface with enough inputs and outputs.
As I said - conventional wisdom and most guidance you can find says put the gate after the offending source.
As I said ... fix / optimize the offending source first.
As "they" say ... shit in -> shit out
Maybe you want to check what causes the "noise" and fix the issue at the root ... instead of accepting the noise and trying to just suppress it with a gate?
For example:
Do you play a Strat or any other single coil guitar? If so, are the guitar cavities, cover(s) and pickguard properly copper-shielded (and grounded)?
I have never understood the need for dual amps ... a la Angus Young ...
Fun fact: Angus Young has dual amps going to FoH where they are mixed, one of them a mic'd cab and the other one being an iso box. So what YOU (in the audience) hear of Angus Young is dual amps.
That's for "B-stock" not "new". Still a good deal if the warranty is in tact. $549 new everywhere else.
No, it's brand spanking new. B-stock is even cheaper.
Same price at Musicstore for example, so it's not only Thomann.
It's 259 Euros here in Germany at Thomann:
lightbox didn't they say all that stuff when we went from AM to FM? No one is going to invest in 2 speakers when you only need one.
I have 8 speakers in my car now. LOL. My wife's car came with 8 speakers from the factory. All we need is a Surround Sound toggle switch. Ha!
1. Where has 3D movies or 3D TV gone? It was a short hype and now it's pretty much gone.
2. Going from mono to stereo was relatively easy, just one more speaker, a second amplifier and done. From stereo to full blown Atmos is a different beast ... going from 2 speakers in front of you to 12 speakers all around you ... and don't forget the 12 amplifiers to drive these speakers, plus all the cables, stands, wall/ceiling mounts or in case of active speakers 12 times power supply cables everywhere.
3. All these soundbars on the market try to reduce the complexity of a decent setup so the average Joe can handle it ... but I tend to call this "fake Atmos surround" using heaps of psychoacoustic trickery. I doubt we would have to do full-blown Atmos productions to achieve that.
Either way, the main problem is that we all can produce AND deliver stereo content in pretty much every way we want ... from vinyl to CD, DVD, BluRay, pendrive ... we can even use it in videos or selfmade livestreams, or send the files to friends or clients and everyone can listen the way they want.
With Dolby Atmos you're very limited to distribution on some streaming platforms, with VERY little (and widely unknown) exceptions.
As a simple example ... you want to produce a song that is not intended for publishing on streaming platforms, it's just for family and friends or maybe just for yourself. You'll have a hard time with Atmos while stereo is easy.
Joshua Jones...
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Sounds exactly like my ex-wife ... can't stand this shredding.
Audacity unterstützt von Haus aus kein ASIO, welches dir Zugriff auf alle Inputs und Outputs deines Audio Interfaces geben würde. Unter dem Windows eigenen Soundsystem hast du lediglich Zugriff auf die ersten beiden Inputs (bei Focusrite).
Deshalb, wie Kulle schon geschrieben hat, such dir ne andere Software, statt dich mit Audacity rumzuquälen.
Dolby Atmos is the big thing in the audio industry. If it's done right, it sounds spectacular on a 7.1.4 system.
But I'm not sure it will be successful in the long run for a couple of reasons.
1. I doubt that many consumers will invest in a 7.1.4 system to enjoy the full potential of Dolby Atmos.
2. The binaural downmix is nice in a way ... but far from the full Atmos experience. Probably not great enough for most consumers to actively pick Atmos content over classic stereo content.
3. Dolby seems to be very focussed on streaming platforms. There's no easy way to produce and "sell" physical copies that actually play on consumer systems. And streaming platforms encode and stream Atmos "joint object coded", which is a pretty significant reduction of 3D resolution.
Personally I did Dolby Atmos for a little while but the whole ecosystem isn't open enough to become a widespread standard any time soon, imho.
