RexRed

Unfortunately, the streaming services that my files are uploaded to only accept mp3.

I just found out the Rodecaster has 48khz, 24 bit... Big drawback, of course I found this out after I bought it. I like to record in 96khz. Well, I have my RME Fireface coming back at some point. I still like this for broadcasting. I can run my Cakewalk RME interface out to the Rodecaster.

Hey Tim, Thanks for your input! The thing I need most is, well quality reproduction of my sound and then interconnectivity. I have 4 YouTube channels and 3 of them are entirely live. Being able to access all of my audio sources, effects and route them to a myriad sources, all from on interface seems like the most appealing of scenarios. YouTube does also pay my bills... ? I just bought one...

Thank you Msmcleod for the comment. I will not be using a USB mic with the Rodecaster Pro II, I will be using the XLR inputs. Rode Rodecaster Pro II Podcast Production Console https://www.sweetwater.com/store/detail/Rodecaster2--rode-rodecaster-pro-ii-podcast-production-console I only plan to use one of the 2 internal audio interfaces per PC. I am going to buy this thing today, it will cost about $700 but I need to be on the in with this new technology and function. Let's talk some of the pros and cons of this unit.

Then I thought to ask about this in this Cakewalk forum. Many of the features I am very interested in: The Rode and the RME Fireface interface could both be plugged into my workstation PC. The Rode having two USB C interfaces one for each computer is really too much to believe it is true. This would be useful for YouTube broadcasts. It is supposed to have a really quiet preamp. I will still use my GAP PRE 73 MKIII preamp instead, I will just send it in line level. As for the Rode interfaces, I hope they are "true" ASIO drivers. And, while the RME Fireface is getting fixed in Germany they might suffice. I have a lot of questions mostly about routing. Sending tracks from each computer back and forth (my workstation computer with Cakewalk and games, and my streaming computer.) I will still probably use the RME Fireface and still will use the GAP PRE 73 MKIII preamp as well. The preamps in the Rode are supposed to be really good but I just can't imagine they have placed a nice warm transformer inside that Rode box. Any thoughts, critiques, suggestions?

Okay, I've made lots of changes on this song. I think I have addressed all of your awesome critiques peeps! (I hope). The guitar squeaks are gone... I added some drums in spots. And I picked some guitar parts to add some other arpeggios. Let me know if there is more fine tuning I can make. All of your suggestions are VERY helpful! Thanks very much!

Thank you OutrageProductions for your very helpful response! Now I can stop "troubleshooting"... lol

My chrome will not communicate with my Behringer UMC 1820 deck when Cakewalk is open. Splice will not make sound while Cakewalk is open. I close Cakewalk and suddenly they work again. I feel like I should know what is causing this but I am stumped... Thanks in advance peeps!

I have heard some people on YouTube recommend both the inline Mic Booster CT1 (Cloudbooster) and the preamp both at the same time. I am running the GAP Pre 73 preamp quite high (at 65db boost) on the Shure SM7B . What are your thoughts on that? The GAP Pre 73 has 80db boost that is enough, but the Shure SM7B needs a lot of gain. Most of my vocals I sing quietly and very close mic. I am wondering if there is really any benefit in using the booster so I can turn my preamp down some (about 25db)? Will I get better tone just using the GAP Pre 73 alone?

This vocal was done with the Shure SM7b, GAP pre-73 and the Behringer UMC1820. I am not sure if I like the Shure dynamic better than the Audio-Technica AT4040 condenser yet. The preamp made a HUGE difference though. The UCXII Fireface is heading back to Germany for repairs soon. The Audio-Technica seems to be hotter on the high end, I kind of prefer that clarity on the high end but the Shure SM7b has a nice warmth. Not certain which way I will go forward yet. I will probably stick with the Shure for now.

Thanks for the answer about the cable, very helpful!

Love is respect and equality... ? I hope you enjoy this new song awesome Cakewalk peeps!

Mp3 compression has allowed us to upload music over phone line internet and, as our connections have evolved, share songs with our fans. But now that fiber internet and broadband have become common in many places, is it not time for lossless file formats to become the standard for music sharing websites? The mp3 algorithms are not that good actually. Each time I hear my songs that are stored on internet websites, the mp3 decode algorithms interpret and play them a different way. When will the internet no longer need to compress our music?

I am wondering, do electric guitars also make use of the TRS noise eliminating feature? Can I use a stereo TRS cable out of my recently made Les Paul "copy" guitar and into the direct in of the GAP Pre 73 MKIII? Will it eliminate hum in the same way?

These balanced TRS inputs are another thing I have just never even heard of until now. Getting the local FM radio through my signal is not a good thing. I use a Pyle noise eliminator as it is. https://smile.amazon.com/gp/product/B00BARTW42/ref=ppx_yo_dt_b_search_asin_title Otherwise my speakers would be receiving alien messages from over vast distances across space (mostly hum, the universe and big bang noise)! So perhaps a balanced connection ever for a 3 foot cable may be a wise choice. It is kind of disconcerting having my signal canceled before it reaches the A/D converter. I think A/Bing the two cables would be a good experiment. If there is no audible noise then I may go for the unbalanced option. From the back of the preamp to the audio interface it would be a 3 foot cable. I assumed the balanced cable had a shielding ground wire of some sort that protected it from interference. Thank you very much Msmcleod for explaining about the real process that goes on. Phase works! I can hear a slight bit more clarity coming from the NEVE.... Is that all due to the GAP Pre-79 needing a transformer upgrade? I am sure that the GAP Pre-79 will probably give me the clarity I am needing before my A/D converters. But, these very pricy preamps sure are a tempting prospect. Way out of my budget range for now though. These NEVE preamps and $7000 Bluetooth microphones with multiple cardioid patterns that I can change on my Android phone will have to wait. And, I wonder how much use that precariously perched reel to reel in the video really gets or is it just for show... lol My Fostex 80 is prettier... ?

I found this response on a Google search. DJ_Vintage Dec '17 The “standard” difference between TS and TRS is not mono/stereo but rather unbalanced/balanced. Unbalanced is fine for instruments to their amps and such. Anything else carrying a low-level audio signal will benefit from using a TSR/balanced cable to prevent outside interference, especially over longer distances (more than 2m or so). Not all gear has the option to send/receive balanced signal, in which case it makes no sense to use balanced cable and simple unbalanced/TS will do the job. With all that said, you CAN use a TRS cable to hook up a stereo source that uses a single TRS output (highly unusual I think) to another stereo TRS input. Most audio/PA gear I know will use Jack inputs only for single channel (i.e. mono) use. The only exception here are the FX Send/Return connectors on PA/Recording mixers that use TSR to send AND receive back a mono signal going into and back out from an outside effect unit. So, can you use TRS cable for stereo signal yes, but it is highly unlikely you will find gear that uses that cable in that way. The other way around now, to answer your question. Can you use TSR cable for mono signal? If you read what I said so far you will already have come to the conclusion that the way TSR cable is NORMALLY used IS for mono use, but balanced. So your question should really be “can you use a TRS cable to make a mono UNBALANCED connection?”, for example between two pieces of gear where at least one has no balanced input or output. And the answer is yes, no problem. The R(ing) lead in the cable is simply not used. Can you tell us what you are trying to connect to what. And why Jack? XLR is -by far- the preferred connector in PA, not in the least because it’s got a locking feature to prevent accidental disconnection. Clearly a lot of controllers will have (balanced) Jack master/booth output for cost and/or space reasons. Comment: This is very good to know.

Why did this guy use stereo (balanced) cables to connect a mono signal? I am wondering if my Behringer UMC 1820 input 1 is a balanced TRS.

I am so excited about this new phase of my musical journey. Especially where there is science behind what I am doing. Before I was kind of poking in the dark. Now it seems I am being precise. Using this technology to boost my signals seems like a really solid approach. Before I was maxing out knobs not really thinking about the consequences to my sound signals. And also, not really looking at the overall picture. Mic level, line level, high Z, low Z, dynamic, cardioid and instrument level. This preamp seems to unify the entire gamut of possibilities. Without it and I am more likely to have my signals corrupted along the way long before they reach the A/D converters. This all seems like such a rudimentary thing but it has been missing from my vernacular leading to constant guesswork. I plan to approach this with a better understanding rather than just plug stuff in and have to settle for what comes out without guiding the process more carefully. I have replaced transformers before. I replaced one in my old Hammond organ, the transformer fried. It was the style organ with two layers of keys, drawbars, foot pedals, lovely spring reverb and 16" woofers. I replaced it with a new transformer, quite expensive it was and the new one fried as well. Not sure why the fuse did not prevent the surge. The lesson I learned, fix the amp before simply replacing the fried transformer. I guess the fault in the amp, that was what burnt out the transformer in the first place. Troubleshooting the amp was a bit above my expertise. Live and learn, music can set you back a lot... lol One expense I still don't regret was "lifetime updates". I am proud to have supported Cakewalk over the years (since DOS). It worked out well!

Thank you one and all for the really vital help you have all supplied to me in this thread. I went from someone who knew relatively little about this subject to being able to use your expert advice to buy a really great solution! I ordered the Golden Age Project Pre-73 and the Shure SM7B last night. I assume the Pre 73 will also work with my Audio-Technica AT4040 as well. I think I understand also the advice of achieving unity gain so I do not need to utilize the pre amps in the audio interface. This, I think I will struggle at first to get my signal right but over time I will learn the way to set the preamp and then be able to leave it. As for adding harmonics to soften my sound, I think that can be done post as well. I have a VST plugin effect called True Iron that adds warm amp harmonics and then there is Izotope and the prochannel tape/tube and console. There are lots of post options for adding warmth. This is why I also did not buy the eq version of the Pre-73. Although, I was once told that eq can be undone in post unlike removing other effects. Have a great 4th of July, if you celebrate it, and again, thanks for the totally awesome help here! Best, Rex (Please feel free to add anything more to this discussion if you like.) Yes, making music does not need to break the bank, but it often does... ?

This looks like a slightly different version of the 73.

The Golden Age Project Pre-73 has an 80db boost! A lot higher than the Warm unit. I am liking the Pre-73 more now. Got it in my cart... Gonna wait till they open in the morning to get 0 interest financing.

Here are the guts of the black model https://smile.amazon.com/dp/B08LF5B6CS/ref=twister_B092DVLW6Y?_encoding=UTF8&th=1 The black model looks like it was made better. It has a rugged cord as well something the might be road worthy.

Yes I saw that less expensive version. The transformer does not look as good inside that and there is more inside the newer version.

Since the Klark is on the way, I might as well go for this Shure SM7B. And this Warm Premap will get me into the ballpark (I think) and also work with my electric guitar and bass (and other instruments).

Warm Audio WA12 MKII Microphone Preamp - Black https://www.sweetwater.com/store/detail/WA12MKIIBlk--warm-audio-wa12-mkii-microphone-preamp-black Shure SM7B Cardioid Dynamic Vocal Microphone https://www.sweetwater.com/store/detail/SM7B--shure-sm7b-cardioid-dynamic-vocal-microphone What do you think of pairing these two items together for vocal singing/recording? I realize the microphone is mostly used for podcasting but it has also been used for singing. I think it is a high quality microphone that is low priced due to its popularity (lower priced than many other professional mics).