Audio Interface selection help

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farmskis

New member
I am looking to purchase an interface to use with Reaper. Currently I am using a uca222 with a yamaha mg82cx. I like how I am able to get reverb and individual track volume control in the monitor headphones with this setup. I would like to get an ai to eliminate the yamaha and simplify my setup but I would like to be able to get reverb in the monitor phones. I have heard you are able to do this with certain ai setups but not sure which ones. I notice most have headphone plugs but am pretty sure it is either an all or none situation as far control goes. Are there any interfaces you recommend for around 200 to get as follows:
-2 inputs
-at least 2 outputs but i am thinking it might be more if I am looking for headphone mix control but possibly not if I do not speaker monitors while recording
-preamps
-phantom
I have looked at the focusrite and audio box and think these will work just unsure if only the 2 outputs will limit me in trying to get headphone mixes.
Thanks for the input
 
I see quite a few people in these parts using the Focusrite Scarlett 2i2 audio interface. Using this with Reaper, you could leave your Yamaha mixer out of the loop and use all the FX that come with Reaper - and there are a lot. It meets all your requirements.

The 2 outputs are for monitor speakers and shouldn't affect your headphone mix which comes from Reaper's mixer.
 
Is there any noticable difference in the pre amps between the two mentioned? Mainly using to record female vocals.
 
Pros: Makes using a DAW (Reaper, in my case) extremely easy. Extremely low-noise.. super quiet. Plenty of headphone volume. Plenty of input gain for mics/instruments. 48V phantom power for mics that require it. MIDI in/out if you need it. All the cables I'm using fit snug into all receptacles - no loose or overly tight fitness problems.

Cons: Placement of headphone volume knob (2x2 model only). Squeezed between Line Out knob and headphone jack (when plugged in.. which is always).

I have to say up front I'm a fan of Tascam products, so I probably would buy the same unit today. Although, I would be tempted by the Behringer posted earlier by @TEC - especially as it's about $50 less and it offers 4 inputs vs 2.

With any of these, the hardest part is getting all the preferrences and driver settings set up on installation. It's not really difficult, but it can be confusing sometimes. Physical installation is easy - one USB cable to your PC (usually supplied) and an AC/DC wall plug adapter (also usually supplied).

Even though I had pretty much decided on mine, I still read tons of customer reviews just to see if any major problems jumped out. Every piece of gear gets it's share of 1 and 2-star reviews. Most of these units also get a high number of 5-star reviews. When you Google 'reviews [model #]', you should get plenty from all sources: Sweetwater, Amazon, Guitar Center, audio magazines, etc.
 
Farmskis, I would not, for your particular requirements ditch the mixer.

By all means get a better interface, the wee 202 is a bargain for tape or vinyl dubbing but very limiting for much else. The new Behringer AIs do seem to get glowing reports but I have yet to read a 'serious' review of one and have read of at least one problem, possibly with latency/drivers?

Whatever AI you get I strongly suggest one with at least 2 mic inputs PLUS two line inputs. Thus equipped you can use the mixer's mic pres' (Yamaha mixers have always had a good name for clean preamps). The mixer drives the AI's line ins and you can use the mixer's FX with truly zero latency for monitoring. Yes, you COULD use software FX in the DAW and monitor that way but that requires a low to very low latency system and I not sure the Berry can achieve that and maybe not the Tascams? My personal choice of AI would be the Native Instruments KA6.

The other advantage is that you would have a 4 track recording.

Dave.
 
ecc83 said:
Farmskis, I would not, for your particular requirements ditch the mixer.

By all means get a better interface, the wee 202 is a bargain for tape or vinyl dubbing but very limiting for much else. The new Behringer AIs do seem to get glowing reports but I have yet to read a 'serious' review of one and have read of at least one problem, possibly with latency/drivers?

Whatever AI you get I strongly suggest one with at least 2 mic inputs PLUS two line inputs. Thus equipped you can use the mixer's mic pres' (Yamaha mixers have always had a good name for clean preamps). The mixer drives the AI's line ins and you can use the mixer's FX with truly zero latency for monitoring. Yes, you COULD use software FX in the DAW and monitor that way but that requires a low to very low latency system and I not sure the Berry can achieve that and maybe not the Tascams? My personal choice of AI would be the Native Instruments KA6.

The other advantage is that you would have a 4 track recording.

Dave.
Click to expand...

It is funny you recommend that one. I just saw that one the other day and was pretty much going to purchase. No one else I had asked had mentioned anything about it. In researching I came across it on a video review of about 6 different interfaces. It looked like a quality piece of equipment with good specs. Thanks for your input. I agree on the mixer usage. Line in gives many more options.
 
farmskis said:
It is funny you recommend that one. I just saw that one the other day and was pretty much going to purchase. No one else I had asked had mentioned anything about it. In researching I came across it on a video review of about 6 different interfaces. It looked like a quality piece of equipment with good specs. Thanks for your input. I agree on the mixer usage. Line in gives many more options.
Click to expand...

The KA6 'has it' where it matters. Perhaps its greatest quality is that of its drivers, made of granite. No matter which of 4 computers I plug mine into nor how long the time between usage, it is just THERE! No mess, no fuss, just bloody works.
I have run the interface on XP, W7, W10 and even the total ***t Vista, never fails. I know of two peeps that run one on a mac and at least one very satisfied Linux nut.

The mic pre amps are very low noise and if I could wish for 6dB more gain it really would only be an issue if you had Bob Harris into an SM7b! Being a completely bus powered device, the headphone amp won't melt your lugs but that's why you are keeping the mixer.

Phantom current is limited but again, a common issue with USB bus power. It runs my two AKG P150s fine but could be an issue with older, hungrier capacitors. Again, mixer and a phantom PSU can be had for $30 or so.

There are 4 balanced outputs so looping tracks in and out of the DAW is possible (add effects? ). the large top mounted OP knob makes for easy monitor control.

MIDI I/O of course and low enough latency to use software sounds should the humour come upon you!

Dave.
 
ecc83 said:
The KA6 'has it' where it matters. Perhaps its greatest quality is that of its drivers, made of granite. No matter which of 4 computers I plug mine into nor how long the time between usage, it is just THERE! No mess, no fuss, just bloody works.
I have run the interface on XP, W7, W10 and even the total ***t Vista, never fails. I know of two peeps that run one on a mac and at least one very satisfied Linux nut.

The mic pre amps are very low noise and if I could wish for 6dB more gain it really would only be an issue if you had Bob Harris into an SM7b! Being a completely bus powered device, the headphone amp won't melt your lugs but that's why you are keeping the mixer.

Phantom current is limited but again, a common issue with USB bus power. It runs my two AKG P150s fine but could be an issue with older, hungrier capacitors. Again, mixer and a phantom PSU can be had for $30 or so.

There are 4 balanced outputs so looping tracks in and out of the DAW is possible (add effects? ). the large top mounted OP knob makes for easy monitor control.

MIDI I/O of course and low enough latency to use software sounds should the humour come upon you!

Dave.
Click to expand...

Just a quick question regarding using a mixer in the loop here. I understand when using just a mic and you adjust the gain to get good recording levels. When using a mixer in there with possible multiple gains and volume controls what is the best way to assure you are getting proper levels? I notice the mixer has some at 0db some at 4db and some still at 10db. I assume these are different levels as some will output hotter signals etc. Being new at this I am just curious on this. I usually just turn the levels until I get proper recording or sound levels but not sure if I am doing it the most efficient and sound quality way.
 
farmskis said:
Just a quick question regarding using a mixer in the loop here. I understand when using just a mic and you adjust the gain to get good recording levels. When using a mixer in there with possible multiple gains and volume controls what is the best way to assure you are getting proper levels? I notice the mixer has some at 0db some at 4db and some still at 10db. I assume these are different levels as some will output hotter signals etc. Being new at this I am just curious on this. I usually just turn the levels until I get proper recording or sound levels but not sure if I am doing it the most efficient and sound quality way.
Click to expand...

Yes, this 'gain staging' gets a lot of folks confused but in practice there is a pretty wide margin where you can operate with low noise and no risk of clipping.

The starting point is the DAWs meters and -18dBFS is the point you need to aim for. Set the channel pot and the MON out pot to their '0' or unity gain positions. This is indicated on the Yamaha mixer by an arrow at 3o'clock.
The MON outs feed the line inputs on the KA6. Waffle into a mic and set the GAIN of the mic channel until you get -18dFS 'ish on the DAW meters. The KA6 needs about -6dBu to deliver -18dBu to the DAW (WAKE UP at the back THERE!) which is about 400mV or not a lot. This will probably barely light the first LED on the mixer but then you don't want to refer to those LEDs anyway (it is possible to 'calibrate' the two devices so that mixer meter and DAW agree and I could show you how but not really needed) .

Of course. Circumstances alter cases and some recording jobs will require a bit more gain, others less but you still need to shoot for neg 18dBFS with peaks never higher than -6 and that would be really loud.

All the above assumes 24 bit/44.1kHz operation.

Dave.
 
Never clip the input preamps on any interface or preamp. Allowable and possible ability to push higher level (above 0Dbfs in 32 bit float) when in DAW. But then you put yourself at risk of causing distortion with plugins that do not play well with higher levels...

It is just a starting point as Dave stated with the -18dBFS. This is the goal to achieve when recording into DAW. It is also absolutely not the end all... I push that quite often, but only after the compression and effects that do not play nice with higher levels.

I have often pushed 0dBFS many times for drums after all effects and before master out. Nothing wrong with that as long as you know that is where you need to be for the mix. The end result is what is important. It is a good idea to shoot for lower for sure. But until you actually know what you can get away with, it is a game of pushing the threshold without exceeding it.

Good lord that just sounds like bullshit. But it is true...
 
"Jimmys The Mod, of course has twice my posts # and is a 'proper' studio person. I an not quite sure what he means?

My comments were about the BASIC setup and signal exchange regime of the mixer and the line inputs of the KA6. To perhaps simplify that?

Setting channel and output pots to 'Unity Gain' on the mixer and using the DAW's meters to set levels means that you will only use just enough gain on the mixer for the job in hand. This ensures that mixer noise is kept to the minimum (it is always worth setting up a known mic, '57 say and getting neg18 then unplugging* the mic and making a 'silent' recording. That gives you your noise floor and I would be surprised if it was no better than -85 to -95dBFS) .

My previous dirge give you the BASIC track grab. WTF you choose to do to it later is your business! (but the VERY first thing to do is 'export as .wav and keep it on another drive!)

*Best practice to terminate the XLR input pins with a screened 150 Ohm R but I have often found it makes little difference.

Dave.
 
ecc83 said:
"Jimmys The Mod, of course has twice my posts # and is a 'proper' studio person. I an not quite sure what he means?

My comments were about the BASIC setup and signal exchange regime of the mixer and the line inputs of the KA6. To perhaps simplify that?

Setting channel and output pots to 'Unity Gain' on the mixer and using the DAW's meters to set levels means that you will only use just enough gain on the mixer for the job in hand. This ensures that mixer noise is kept to the minimum (it is always worth setting up a known mic, '57 say and getting neg18 then unplugging* the mic and making a 'silent' recording. That gives you your noise floor and I would be surprised if it was no better than -85 to -95dBFS) .

My previous dirge give you the BASIC track grab. WTF you choose to do to it later is your business! (but the VERY first thing to do is 'export as .wav and keep it on another drive!)

*Best practice to terminate the XLR input pins with a screened 150 Ohm R but I have often found it makes little difference.

Dave.
Click to expand...

Thank you for that process. I was wondering what the triangles were for. Makes sense now.
Since you seem to know about the Yamaha a little... From my researching on the schematic it looks like there really is no way to use the ka6 preamp then insert to use the comp and ea and effects on the Yamaha. Am I correct on this? Not that I am trying to do that right now but just is now helping to better understand what I can and can't do by thinking of possible set ups.
 
farmskis said:
Thank you for that process. I was wondering what the triangles were for. Makes sense now.
Since you seem to know about the Yamaha a little... From my researching on the schematic it looks like there really is no way to use the ka6 preamp then insert to use the comp and ea and effects on the Yamaha. Am I correct on this? Not that I am trying to do that right now but just is now helping to better understand what I can and can't do by thinking of possible set ups.
Click to expand...

Will have a varder. Bear with...

Dave.
 
I think yes.
AFAICT say you want to put FX on an existing track, say track one?

Route that from say OP3 on the KA6 and feed to a line input on the Yammy. The signal can be sent via FX send pot to the FX section and the "effected" signal goes back onto the main stereo bus and comes out of Stereo outs. That goes to say input 4 on the KA6 and can be recorded.

This will all take a bit of plugging around and an amount of cuteness with the DAW's routing but remember, no matter how you plug things up or what crazy system you want to try you will not damage either mixer or the KA6.

(this is one reason I always tell peeps NOT to sell off wee mixers. ALWAYS handy as a headphone amp, talkback system, even a doorstop! You would get FA for it anyway. )

Dave.
 

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