Gswitz

Maybe. I found an aea link that says the impedance varies by frequency. This means for passive ribbon mics when you don't use a pre with extremely high impedance you are choosing to distort the bass and high end. The lower the impedance the more the distortion. I feel sure lots of great recordings have been made with passive ribbons plugged into pres with insufficiently high impedance so it's a sound you can mimic for that reason. Insufficiently high impedance will distort and reduce high end and low end. Because you impact how these transients are captured by the ribbon, you can't just add them back with eq later to get the same sound with more noise. It will sound different as well as be diminished in volume. All of this makes me think active ribbons might make sense for many ribbon users. I also add that I've now been enjoying passive ribbons for yikes ten years? using pres as low as 2 kohms and loving the sound. I do not own an active ribbon for comparison. I suppose the freedom to use a passive ribbon with a preamp with lower impedance might be the nice thing you get for using passive ribbons. In other words, the freedom to intentionally distort and diminish some frequencies could be seen as a good thing even if aea never says so.

And then this link... https://www.soundonsound.com/techniques/understanding-impedance Makes me think I've learned all this before and forgotten it.

I'm starting to think that the volume of the source for a ribbon might make a big difference. A screaming guitar might go just fine with a lower impedance setting where a soft acoustic or singer might need the crazy high impedance. Yes?

Another AEA link https://www.aearibbonmics.com/how-impedance-affects-ribbon-microphones/ "Passive ribbon mics are dependent on the impedance of the preamp. Since 2005, AEA has been producing preamps that have extremely high input impedance that ranges from 10k ohms up to 63k ohms. This is optimal for passive ribbon mics." "The basic rule is: the higher the preamp’s input impedance, the better it is suited to reproduce the full range of a ribbon microphone."

https://www.soundonsound.com/reviews/neve-4081 This one also talks about low-impedance mode intended for ribbon mics.

I know someone will say 'listen'. I can assure you I do listen. But I often set up a bunch of mics and roll tape and hope for the best. I don't listen to every mic. I have to go on gut and practice for placement and impedance and etc etc.

I have some preamp choices and they all have different specs etc. One of my preamps is an Audient ASP 880 which I've messed with quite a bit by now. In general, it seems like using the highest impedance most of the time makes sense. If you want to gently roll off bass, maybe use 220 or so with dynamics (?), but they work just fine with 2800 Ohms (high). Mid is 1200 ohms. This manual describes and shows some frequency charts for a sm57 at different impedances... https://d9w4fhj63j193.cloudfront.net/ASP880/1.+Manuals/ASP880+Manual+(En).pdf I can definitely see that using higher impedance gives you more level as relates to noise when using ribbons. I've always used high impedance with my ribbons. AEA says use high on this link... https://www.aearibbonmics.com/how-impedance-affects-ribbon-microphones/ But in this video today, the guy says use low impedance with your ribbons and that's why there's a low-z button a Neve pre. This Neve Pre talks about 9K Ohms impedance when 48 phantom is not engaged. So what is it when phantom is on? Why doesn't it matter? I can't even find it on the web what it is with phantom engaged. Is it just the same (9k) but doesn't matter? https://www.sweetwater.com/store/detail/5211--rupert-neve-designs-5211-2-channel-microphone-preamp I also read this one... https://www.gearslutz.com/board/so-much-gear-so-little-time/121838-impedance-setting-neve-1073dpa.html which talks about a Neve pre with switchable impedance between 300 and 1200 https://vintageking.com/neve-1073-dpa Anyway, I find preamp choosing and setting a little puzzling. I recognize that the lower impedance settings are maybe a touch more feedback resistant and have a bit of bass roll-off. My RME UCX has 470K ohm on the instrument input. 2k ohm on the mic pres. 8k ohm on the TRS. http://www.rme-audio.de/en/products/fireface_ucx.php The instrument input on the Audient ASP880 is 1000k ohms. "Therefore we need at least a 400kΩ load to get the most signal and tone from our instruments. It should then come as no surprise that most classic valve guitar amplifiers have a very high input impedance - 1MegΩ!" My RME Quad Mic Pre has 2 kOhm and TRS 4 kOhm. Seems like 2 kOhm is kinda normal for a mic pre that may or may not have phantom. ................................... Right now, I'm feeling like using high impedance for just about everything except drum dynamic mics, feedback type situations for vocal dynamics especially with female vocalists where bass frequencies are less important, or dynamics being paired with another mic that will carry the bass. Could some of you nice folks set me straight?

Yep... I'm on a phone.

Ads bug me.

I LOVE ribbons. I have 2. Not the aea. Mxl and royer. And i love them even more paired with another Mic. Honestly, my ribbons are usually at a distance from my mouth. I'm a little gun shy of damaging them. I cover them during breaks. C414 is cool. Sounds good. Adjustable polar pattern helps capture what you want. Takes a little practice. I have a tube that has grown on me. But, for just me, i don't often break it out. Honestly, the vocal Mic i use for me a lot is a shure sm86. It isn't fancy, but works fine.

I have an older version of this. 10+ years, I'm guessing. I actually looked at your link bc the polar pattern doesn't seem normal cardioid from my experience. Or doesn't bleed quite as much as some of my ldcs. I didn't find the polar pattern on your link. Mine is missing the high pass switch and the pad switch. I do use it fairly often. Usually for lady singers. The screw is broken on my shock mount so it can be hard to position. .... Just found this about the pattern at Sweetwater... The Bluebird SL offers excellent off-axis rejection, thanks to its unusually tight cardioid polar pattern. But it isn't traditional hyper cardioid. When two musicians are playing facing each other so the blue bird has its back to the other musician, it still doesn't bleed much.

House on a sacred burial ground?

Lift grounds until noise goes away. Sometimes, plugging all gear into the same jack can help. Watch for heavy things plugged into different sources and each other. Example.. Amp direct out plugged into computer interface. When the amp is plugged in across the room this can be helped with a ground lift in some cases. Flip case is reamp line plugged from interface to amp input. This is why you find ground lift switches on reamp boxes.

So not surprised Chuck.

It is clear i could acquire more gear without shame.

RME USB Driver for UCX and UFX on 2/25/2019. RME Firmware 2/20/2019. RME Digicheck updated 9/17/2018. News, changes and fixes Warning: this version is no longer compatible to Windows XP! V 1.166 (02/25/2019) New in TotalMix FX 1.6: - Settings for External Input and current PFL mode are no longer changed per Snapshot. - Solo/PFL have now priority over the Mute state of an input channel. - Settings, Mixer: New option 'Exclusive Solo/PFL Mode' - Settings, Mixer: New option '2-Row Mode with only Input in first row' - Settings, Aux Devices: Increased number of Aux device channel banks to 24, so that MADIface XT and HDSPe MADI FX can control an Octamic XTC even on MADI port 3. - Preferences, Mixer Views: New option 'Store channel open/close state in Layout Preset'. - Preferences, Snapshots: new 'do not load' options 'Main Volume, Main/Phones Volume, Control Room Settings'. - Preferences, New Option 'Store Settings for all users'. So far every user had his own TM FX state/settings. This option now allows to have the same settings for all users. - Added full support for multi-user operation. On a user change TM FX will automatically close and reopen. According to the above option it then loads either specific settings for the current user, or the same settings for all users. - Menu File: New option 'Preload all snapshots'. Loads the 8 snapshots of a workspace into the Snapshot section, but does not activate any of them. Other settings within the workspace file (window position etc.) are ignored. - Matrix: Shift + click to change phase, Ctrl + click to mute (or double click) on the vertical channel name columns. - ARC USB: added new mode 'Push-or'. Allows for example to activate Talkback with a button and the footswitch without blocking each other. - ARC USB, Usage: supports SysEx mode (requires firmware update of the ARC USB). Additional option to disable the former mode. Firmware download: RME Intelligent Audio Solutions Fireface UC / UCX / 802 / UFX / Babyface / Babyface Pro USB Flash Update Tool for Windows Vista/7/8/10 Requires driver 1.09 or higher This Flash Update Tool will update the internal firmware to the following versions: Babyface: 225 Babyface Pro: 101 Fireface UC: 126 / 138 Fireface UCX: USB 48, DSP 260, FireWire 27, Class Compliant 13 Fireface UFX: USB 360, DSP 163, FireWire 344, Class Compliant 28 Fireface 802: USB 15, DSP 9, FW 7, Class Compliant 9 Update 02/14/2019: Updates USB of the following devices: UFX to 360, UCX to 48, UC to 126/138, 802 to 15. Fixes a compatibility issue (record start) with Asmedia USB controllers. Additionally UC: fixes a rare issue with reading the serial number during power-on. Fireface 802: V 13/9/7/CC9: Supports unlimited CRM channel selection and the new reverbs. DSP mixer has been optimized. Compatible to the Corning USB 3 optical cable. Supports Loopback and EQ+D for record under iOS. V 13/7/7/CC 7: Removes noise at high gain on open Inst inputs. Fireface UCX: V 46/260/27/CC13: Sample rates 176.4 and 192 kHz removed from CC mode to regain multichannel compatibility with Auria. V 46/260/27/CC12: Supports unlimited CRM channel selection and the new reverbs. DSP mixer has been optimized. Compatible to the Corning USB 3 optical cable. Supports Loopback and EQ+D for record under iOS. V 46/240/26/CC 10: Fixes a detection problem which occurred in seldom cases with VIA based FireWire. V 45/240/25/CC 10: Possible sample offset when changing between single/double/quad speed and resulting performance problems fixed. V 44/240/25/CC 10: supports the iPad app TotalMix FX for iPad version 1.1. Echo Delay Time can be set to 0.00 s to use the FX bus as real Aux bus. Expander Threshold top value raised from -30 dB to -20 dB. Optimized Dynamics function removes low volume noise on specific samples and improves the lowest attack range (0 to 6 ms) for Compressor/Limiter/Expander. New global zipper noise filter design working on all faders. New internal third row design with several improvements (example: the Cue channel’s fader no longer influences volume). Optimized performance for higher count of EQs and Dynamics. FireWire only: MIDI input problem with Sysex fixed. V 42/220/23/7: CC7 supports the ipad app TotalMix FX for iPad V 42/220/23/4: Class Compliant: full 18 channels, choice of 2 playback routings (C8/CA) V 42/200/23/3: FX Send was deactivated since 190 V 42/190/23/3: Fixes clicks when compressor/expander are working V 42/180/23/3: ADAT receiver optimized. Level loss of 6 dB in the 'Cue to' function fixed. V 41/170/22/3: Public release. Fireface UFX: V 357/163/344/CC28: Improved DURec playback (clicks on file end, correct start of playback). Performance optimized at 192 kHz (DURec playback and reverb). V 357/162/344/CC28: Reverb was not rendered correctly (fade-out, low volume signals). V 357/161/344/CC28: Supports unlimited CRM channel selection and the new reverbs. DSP mixer has been optimized. Compatible to the Corning USB 3 optical cable. Supports Loopback and EQ+D for record under iOS. V 357/159/343/CC26: DURec: recording an output signal (TM FX third row) exceeding 0 dBFS produced nasty digital distortion. V 357/158/343/CC26: Possible sample offset when changing between single/double/quad speed and resulting performance problems fixed. Internal loopback did not work in some situations in quad speed with channel 16. V 356/158/343/CC26: supports the iPad app TotalMix FX for iPad version 1.1. Echo Delay Time can be set to 0.00 s to use the FX bus as real Aux bus. Expander Threshold top value raised from -30 dB to -20 dB. Optimized Dynamics function removes low volume noise on specific samples and improves the lowest attack range (0 to 6 ms) for Compressor/Limiter/Expander. New global zipper noise filter design working on all faders. New internal third row design with several improvements (example: the Cue channel’s fader no longer influences volume). Optimized performance for higher count of EQs and Dynamics. FireWire only: MIDI input problem with Sysex fixed. V 353/156/341/21: Using DURec under high DSP load could cause problems with the ARC. V 353/153/341/21: CC21 supports the ipad app TotalMix FX for iPad V 353/153/341/8: Adds Class Compliant mode with 22 channels / 96 kHz I/O, choice of 2 playback routings (C2/CA). V 352/151/341: FX Send was deactivated since 190. Booting at 96 kHz sr the mixer was not initialized. V 352/149/341: Fixes clicks when compressor/expander are working V 352/148/341: ADAT receiver optimized. Level loss of 6 dB in the 'Cue to' function fixed. Optimized graphics refresh in the display. V 351/147/340: Gain reduction not shown on odd channels when the even channel had been inactive. Faster operation of the Advanced Remote Control. Optimized internal error management. DURec: Starting Record with no channel enabled caused a flashing indication for all channels armed later. Stand-alone MIDI: under certain conditions not all fader values were loaded correctly. 9th fader of Mackie Control could block Main volume setting. Improved loading of setups for quicker reaction when using the Advanced Remote Control. V 351/144/340: Bugfix: AutoSet influenced the communication with the front USB port. Gain Reduction data of Compressor and Auto Level transmission added (displayed in TM FX 0.96). Activated DIM could cause mismatch dialog. V 351/141/340: New functions AutoSet and low pass filter. V 351/139/340: Improved compatibility for some USB sticks. V 351/138/340: Noise on the phones outputs in DS/QS mode fixed. V 350/138/339: USB recording improved. Switching between USB/FW improved. V 343/137/336: USB recording improved. Cue works correctly on mono channels. V 342/129/336: Support for mono hardware outputs and USB recording. V 342/112/336: Error during unit initialization fixed which had been introduced in version 111. V 342/111/336: Compressor/Expander were in stereo mode not coupled reliably, so worked in dual mono mode instead. V 342/110/336: MIDI USB/FireWire: Input and output could drop data. DSP: Auto Level output channel 1 did not work correctly. V 338/108/333: Update of the UFX DSP software: New: Support for Speaker B. Reverb/Echo could generate noise when the unit is switched on. Fixed problems when loading Setups at the unit which changed channels from mono to stereo or vice versa. V 338/107/333: Update for the FireWire communication of Mac OS. V 338/107/332: Improved initialization of the sample rate. LED test during power-on. Improved initialization of the USB phy. FireWire operation could cause the unit to hang. V 336 first public release. This FUT flashes USB firmware 336, DSP 107 and FireWire firmware 328. Babyface: V 223: Optimized encoder handling to prevent jumps in gain. V 220: Possible sample offset when changing between single/double/quad speed and resulting performance problems fixed. V 219: Bug fix sample rate control broken since v 218. Further performance optimization of the Class Compliant mode V 218: supports the iPad app TotalMix FX for iPad version 1.1. New global zipper noise filter design working on all faders. New internal third row design with several improvements (example: the Cue channel’s fader no longer influences volume). V 204: Problem fixed with MIDI Realtime Messages at MIDI input V 203: Instrument LED is constantly lit in a dim state instead of flashing V 201: Adds stand-alone and Class Compliant mode V 186: Internal change, no bugfix V 185 Changing the input gain changed the output gain too V 184 Bug fix high interrupt load when removing the driver under W7 SP1 V 183 Mute for phantom power. Peak hold for Over LEDs. V 179 Zero Crossing Detection activated (Mic In). Error in USB core fixed. V 176 Second MIDI port in class compliant mode (Mac) removed. V 175 DSP optimized. V 173 first public release. Fireface UC: V 135: Newer devices only: Clip LED ignored gain setting on channels 3/4. V 123: Optimized encoder handling to prevent jumps in gain. V 119: Possible sample offset when changing between single/double/quad speed and resulting performance problems fixed. V 118: Problem fixed with MIDI Realtime Messages at MIDI input V 117: Internal Loopback did not work correctly with ADAT at more than 48 kHz. Internal Loopback on the ADAT channels is now available even when Optical Out is set to SPDIF. V 116: ADAT/SPDIF playback at DS and QS was distorted when the opposite format was present at the digital input. V 115: Mute for phantom power. V 112: In standalone mode the sample rate was not set correctly. V 111: The UC is now compatible to the Nec USB 3.0 controller. LTC In (input 4) now also generates MTC, available at the MIDI input 2. SPDIF output: Channel Status Consumer changed to IEC 60958-3 (24 bit). V 091: The Pitch fader did not work correctly. SPDIF output: Channel Status Consumer changed to IEC 60958-3 (DS/QS). V 088: In Quad Speed operation SMUX4 did not work. The mic gain fader position of channel 1 sometimes changed on ASIO start. V 086: In QS mode the analog input channel 1 (mic) did not work correctly V 082: Initial release

Quoting an email i got today. We're running an A12B Kickstarter project! If we get orders for roughly 60 modules in 30 days, we'll do another production run. This is your last chance to order an A12B, since we're closing up shop when our lease runs out later this year. This will be the last production run, so now's the time to place an order if you want to fill your chassis or get a stand-alone unit.

Is there a final note off message in the midi? Check midi events.

Damn dude. I'm useless, but impressed.

You can record the output of your synth on an Aux track if you want to while you play it. When it comes to sustain, I'm guessing that if you recorded the midi you also recorded the sustain. It might sound really differently when you change synth patches. Some synth patches have an infinite hold for sustain. Other patches have a steady fade for the sustain. For example, when you hold the sustain pedal on a piano, it fades out fairly quickly. Other synth never fade out. I mention this in case you changed your patch from one type to another.

Fwiw, all the old timers used laptops like yours back in the day. ? What i mean is, you might be able to get this sorted. If your budget is tight, the first thing I'd do would be borrow a USB interface from a friend... Use asio. Does it fix things? If yes, there are entry level interfaces for around $100 usd. Most important, set it to asio.

I just checked in Sonar Platinum (last version) and Cakewalk (current version). Both versions closed ok. There were some lingering plugin finding processes. But I killed them and they went away. I wasn't able to get them to return and remain after that.

same for me. seems new.

I don't offhand. Normally, recording continues until you hit stop. Do you have loop engaged? Punch? These things can have a controlled recording window.

Fyi as a us citizen, i paid $69 usd through PayPal direct to overload. I upgraded from th3 full.