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I am only listing what people are having issues with. H6 was put on the list for not being compatible with all microphones and someone complained about it online. Same with those particular focusrite units.

To have failed to be compatible with the device that is connected to it. Like if the mic pre doesn't accept all mics, then it goes on the list. If you have to put another device on it to make it work (like a cloudlifter) then it goes on the list as well. for example. If someone is complaining...

Practice does not define correctness. Rather, just a settlement of actions and solutions in an application. But since you don't know, any impedance mismatch is going to effect the overall gain formula in the stage and input noise figure.

I've been waiting to post this for a long time, as this was going to be inevitable. I knew something like this would happen eventually with the mass corporate built stuff. As over the years the audio designer is not the same type of people. These corporate people originally hired Electronics...

Its the server you are connecting to and its probably because a lot of people are doing the same thing.

The stair-step model is more of a theoretical model, as the actual model would be points and points of threshold that characterizes a bit level value.

If the receiver has a good isolated supply, a standard 1/4 unbalanced t-s to RCA should work fine. If you have a hum, then you either have to use signal transformers or capacitors to isolate the ground loop.

Was there? not really, but mics that are 600 ohms and higher are usually condenser mics. Which a lot of the newer interfaces are engineering their mic pre on purpose that way. Putting a resistance across or in series before the mic pre might help, but its not the correct way of changing the...

There are a few boadcast mixers that are ok. But you minus well buy a Neve or an SSL because its in that price range. I guess the Sandies/Dynamax would probably be the only one below $300K and that one works really good for recording. The only problem with them is It would take a tech guy to...

Well one of the problems that should be addressed is that they are using a bad signal chain topology for A to D recording. Because if you go into the instrumentation sector of electronics (where the audio ADC came from) the standard build for analog always have a signal limiter before the...

What you are experiencing is reaper in real monitoring mode. Theoretically the Daw monitoring button is suppose to switch the monitor button on the interface, and the raw signals before the daw computer are sent to the headphones. This behavior is configurable in a monitoring menu. The way they...

And they tried over the years to build it cheaper. Which eventually led to the use of op amps and the invention of the INA217 IC. The one chip mic pre. The one chip mic pre can be configured to run low z mic nicely, but the drawback to a lot of these they go unbalanced at the end of the circuit...

real recording boards back then had real preamps in them. My 24 into 4 studiomaster was able use a lot of mics cleanly. Even ribbon mics and un modified Sm7. I think they set up the studiomaster to accept 200 ohm mics because of the size they chose for the phantom blocking caps. Granted, my 1974...

For the longest time all of them used to work, because they used to use the old transistor differential mirror mic pre everyone used in a mixing board. That typically had a 1K input impedance. After, the INA217 came along that you can set it up from 200 ohms dc coupled to 2K Ac coupled with...

It might be ridiculous, but not ludicrous.

Its all of how you use them. I have the original version and they can pick out flaws in mixes, but I don't feel comfortable doing a full mix on them. I ran a Yamaha pc1002 amp with mine for years after the original home stereo amp died. Then I switch to powering them with a SET tube amp because...

Well you not going to damage the RE-20. Its a transformer dynamic mic. Triton Audio Fet Head is a good one to use. I think its still crazy they did that because it makes mics not really compatible. Normally, an Re20 is around 12 o'clock on the gain knob on most mixers like other mics of the same...

That is why I modified mine about 20 years ago by bypassing the fake presence boost filter and stuck a TAB sm58 transformer. Works like a champ and sounds good on any mic pre and mixing board I plugged it into.

E835 even beats them on guitar amps. SM57 actually sucks for saxophone. I played with a SM7 live, but it was modified with an Sm58 transformer in it. I'm not a fan of shure mics. They suck in various ways with a live PA and even worse when you record with them. The only Shure mics that I like...

It actually has more guitar range capturing than a 57. Better low mids and good bass roll off. Its great either alone or paired with a e609 I would be surprised if no one else hasn't noticed this about them. C1000 is touchy with mic placement, but older recording interfaces screwed with top...