Hi, I am new to this forum and am somewhat new to recording music as well. Right now I am working with one external synthesizer (plan to get more however), one drum machine (TR-8), and a PreSonus Audiobox USB interface (which I bought years ago before I had anything else). It has two mic/inst inputs, so I already feel uneasy running a synth and drum machine into its two inputs which I believe are line level signals. My first question is, is it bad to be running these signals into this interface that says only mic/inst inputs? Secondly, I don't like running the output of my drum machine into a mono input of this interface because I don't get to individually edit the instruments within my DAW. You can assign instruments on the TR-8 to 4 assignable outputs which is ideally what I think I want. I would obviously need a bigger interface with more inputs but I also have been looking at mixers that can be used as interfaces as well. You seem to get a lot more effects and control when buying a mixer and a lot of them accept line inputs which is what all my equipment is. My second question is, would I be better off with a mixer than an interface? How good are the effects that come with a mixer as opposed to within a DAW? Obviously you get what you pay for, I know, but I don't have any idea if they even compare in the first place. And another thing I often do is I like to write MIDI patterns within my DAW and send them to my synth via the MIDI out of my interface. I understand that most USB Mixers don't really come with MIDI outputs? Should I get a MIDI interface paired with a mixer or buy a better audio interface? If there are any particular models that you guys recommend that would help too. I would like it to be under $700. Thank you for your help.
Mixer Question
- Thread starter bhilton15
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Mad Phonetics
New member
Microphones, Instrument-Pickups and Line-Level sources have different impedances, so the answer is yes, connecting line level signals to mic/instrument inputs result in sound degradation.
Mad Phonetics
New member
You'll definitely be better off with an audio interface.
Mad Phonetics
New member
Depends on the budget. In the price range you mentioned the processors and FX in a DAW definitely are better.
Mad Phonetics
New member
I don't know any mixer with an MIDI interface.
I recommend as mentioned above to buy an dedicated audio interface - with or without a MIDI part doesn't matter you could pair every audio interface with a MIDI-USB-Interface.
Mad Phonetics
New member
There're many affordable audio interfaces out there. I would recommend one from Steinberg or Focusrite. It should have an ADAT input/output so you can extend the number of available analog i/os by combining the audio interface with an external converter unit.
krushing
Moderator
I don't think I know anyone who'd use a mixer with FX and actually use those FX, unless specifically going for a lo-fi vibe. I guess some of the newer digital desks have actually decent fx engines built in (we're talking a lot more than $700 though), but you're still cut short of, say, automating them in the DAW, regardless of the quality. As said, just get an interface with enough i/o - if you want the comfort of having a MIDI interface in the same unit, there's plenty of those, but also as said, if you really need a lot of "traditional" DIN MIDI ports, you can always get a separate MIDI interface later. Most modern synths/drum machines work just fine over USB though, MIDI wise.
ILL GREEN
MONSTER ONE
A mixer into your set up would be valueable if your interface already had a Line input, so you'll still be going around in circles with your current problem. Either buy a new interface with the needed connections or buy a portable DAW like Tascam's DP series and transfer files to your PC if you want a mixer. So many options out there.
Thank you all for your help. I'll definitely go the interface route then. I've been looking at a lot of interfaces lately and I want there to be a lot of inputs because I plan on getting a lot of instruments for the future. I've been looking particularly at the Focusrite 18i20 and the MOTU 828x. On the Focusrite however, there are only these microphone preamp combo XLR/TRS inputs. Does putting a TRS jack in there mean you are bypassing the preamp or how does that work? The MOTU 828x seems perfect for my situation but all I see are complaints and problems with it online so I'm planning on getting the Focusrite. Thank you for all your help everyone.
Please note that in the long run you'll be more satisfied with quality over quantity. When you purchase an audio interface, it's primarily four technical areas that are of concern:
1) Max input and output signal capacity (specified in dBu)
2) Clock stability (specified in PPM)
3) Latency (specified as analog roundtrip latency in ms)
4) Maximum sample rate
In practice a random audio interface has a compromise on one or several of these and you want to get the audio interface with the best overall quality in these categories having the compromise that is most distant to your core activities (recording vs. mixing vs. mastering). For instance mastering interfaces typically have +26 dBu signal capacity and you want to drive the hardware to the resonance sweet spot and then capture that straight into the final digital playback format with the audio interface. If the audio interface distorts and has a clock stability that is bad, the mastering engineer won't be able to capture that resonance on the final product.
One can say that no matter the use 1) MUST be high, preferrably +26 dBu. Secondly, you will suffer with high latency unless you only do mastering.
Mad Phonetics
New member
It's the 'optimal' level a hardware unit is feed with.
Oh, time you hear some more. The hardware has a combined resonance sweet spot (peak resonance) slightly above the combined frequency of the audio, the units, yourself and earth (resonant at 7.8298Hz but depends on your location). This is a harmonic place in which the audio passing through the units harmonize with them, with you, where you are. In the mastering room you might be dialing in this sweet spot by ear resulting in an output level of say 14 volts, but on the way in the signal will start to clip already at say 7.7 volts because the audio interface cannot handle a signal that hot, hence you are not able to capture the level of resonance you are perceiving in the mastering room, you need to lower the signal level and in the process you are also losing the resonance you've dialed in. Resonance is the most important quality of a great master, hence this is absolutely critical. Because the state of resonance requires time stability (the resonance is a particular frequency, time instability shifts the frequency), the converter clock stability is incredibly important on the way in, but at the time stability level of modern converters it becomes of little importance compared to the signal capacity of the audio interface. The signal capacity of the audio interface is kind of the first determining factor whether you are producing pro stuff or not (when excluding the tuning of sound sources and rooms which is even more basic). It's kind of a bar you are either jumping over or under, unfortunately most are jumping under it. LOL You should not forget the power of customizing hardware though.
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