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Top is hard clipped with pyramix or dangerous music adc and clip recovery makes it bright bottom vid is soft clipped with an apogee which remains neutral.

Oh it is true, but its not as a bad flaw like FM modulation recording that goes on in a VCR and within a few times you get video mixer noise in the video from copying a copy that was copied. But all flaws accumulate, but compared to tape hiss and a 60 db signal to noise ratio of typical analog...

you must be high on something.

I remember making others mad when I point out how much of the degradation came from the analog line stage instead of the converter because the op amps having poorer signal to noise than the converter. There are two places a converter has loss 1. at the AD conversion where there is signal to...

lol, that is why the operator teacher's answer is 'quality'. I have an electronics degree not a communications degree. I got stuck doing audio engineering like every other sax player did in bar bands. Even though through the years I have met a few of them and even befriended some more famous...

I can see someone that didn't come from an electronics background not be able to explain Q factor or the ratio loss of filter resonance.

I could never budget for an alesis24 and when I did it was already off the market. But some of my projects are more than 24 channels and I don't want to go back to stacking tracks. However, Tascam does have a 32 channel I've been looking at from time to time. To me, I really don't need the...

What I was referring to is the Marshall using a car radio audio IC output instead of a discrete transistor amp. Filter caps should last thousands of hours. As for box type, I still prefer series wound film and foil instead of parallel stacked construction because over time, the stacked box cap...

That is what the deal with what I call pro-sumer equipment. This stuff and other firewire interfaces were planned obsolescence. I have a stack of motu that I can't get drivers for and motu don't care. I rethought the way I was setting things up and switched to dante as the digital backbone, then...

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...