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The circuit I posted in #26 is what is missing between any analog source and a converter. It allows you to drive the analog source into the operating range of it so its signal to noise is high, then you can bring it in at the normal tracking amplitude. I figured I would post this because a lot...

over the years I notice them increasing the loss in the front end with their capacitor coupled mic preamps. But when they do this, it has a tendency to make the gain contour change with source resistance. When these circuits are prototype, they chose a source resistance greater than they should...

I have known for a long time most plugins are the same thing with a different skin, but may have the controls in a different calibration. Nice to see others figuring this out.

Here is a solution that will work for you. Which is adding the load point of the output circuit the interfaces are designed to accept, but you have to build it:

That is because the equipment Bob dealt with was better at receiving a hot unbalanced connection with DC offsets.

I could see it being like that considering selecting the correct surface mount resistors and caps to use in the circuits is going to be difficult if not, next to the impossible.

Its an end user solution that will work, however, the quality will very in price. Like the Jenson DIN-PB which is one I use in theater installs that works really well, but it may be more cost effective to choose some other piece of equipment than the cheap mixer after spending ~$800 on a set of...

What I find interesting is that some features like the poor dampening effect that some think its some sort of compression or limiting effect, is easily made using any amplifying device (tube, mosfet transistor, opamp) because its the circuit construction chosen for the stage that is the cause of...

Its what some settled with. Marshall AVT50 is one of them. What gets me is that there is nothing gained with running tubes the way they do other than wearing them out quicker with a circuit that might self destruct itself and the flopping dampening effect doesn't record well and most of it gets...

Which interface you are trying to use? I know of several solutions, but it all depends on the interface.

In those instances, they try to build it on the cheap, but concentrate on the line stage that is 90% of an amp's sound and pick a speaker to compliment it. Which is 8%. The tube output stage only adds maybe a 2% difference and a lot of times those differences are not picked up by the mic...

I know because I commercially design them. But I doubt Ecc83 really knows besides the obvious things. I have him on ignore because he says audiophile gibberish that have no real base in reality much less the circuit.

After building guitar amps for decades, I know what sounds are caused by and how to manipulate circuits to behave the way I want them to be. Its just cost more to do it in solid state. That is why its not really done and the way other manufacturer's tried failed miserably or had limited success...

The differences is internal gain structure of the amps. The Roland that was mentioned was one of the few solid state amps with the same gain structure and internal signal levels as a tube amp. The output stage of a tube amp has no real advantages or disadvantages compared to changing it out with...

Its not a big deal as people think, but over time, you have to clean the equipment. I bought used studio equipment from someone who smoked cigarettes and weed in their control room for 20 years. Some stuff I cleaned controls, but most of the smoke residue was on the boards that I just cleaned...

Yes, there is a solution to eliminate the spurious interference. But its not a cheap solution. You buy copper screen mesh, attach it to the walls and ceiling (physically and electrically to each section of screen, and ground it. The inside door also must be covered with mesh and grounded if its...

I imagine the character is the same, but slightly different from different mic pres due to the way they make the input circuit so they can provision a condenser mic. The Phantom power circuits as well as the coupling are losses the passive dynamic mic must pass through. In reality, the input...

Their indicators from -7 to -2 is amber, and -1 to 0 is red.

Its a generic 2nd source switching power supply, but what usually happens to them and Mackie boards like them is the power supply plug gets slightly unplugged in them if you move them around a lot. 9 out of 10 times I had one come to me for a repair always was this connector. So I bet if you...

I would have to dig and find info on the 1820 but the omega is an instrumentation amp type like is in a lot of interfaces (INA217)