14 Aug
2010
14 Aug
'10
10:51 p.m.
On Sat, Aug 14, 2010 at 12:19:33AM -0700, Niels Mayer wrote:
The big issue with having the full 144dB range is that
the "business"
end of the slider is all at the top,
I've never seen a real fader that has any practical resolution
below -80 dB: the next tick, 5mm or so down, is 'Off'. And most
don't even go down that much.
Since the goal of input monitoring is to record as
much signal as
possible w/o clipping, the peak-metering makes sense for the inputs,
but the suggested signal ranges don't. On an individual track, I'm
not sure I'd want to leave a 3dB "red zone" based on reading the
peak-values from the audio stream.
Right. For recording you'd better leave a margin of 15 dB or so.
Increasing the recorded level (assuming your software records 24
bit or floats) is not going to improve your S/N ratio at all -it
is determined by the preamp, not by the level on the 'tape'.
Maybe this kind of metering and cue-routing
doesn't exist on any of
the hundreds of boards Fons has used, but it's certainly present on
all the Mackie's (and many DJ mixers) I've used, .... so it's somewhat
expected "home studio" and "small studio" functionality -- and the
ice1712's target market.
I hope that nobody is going to use the soundcard's mixer to do a
real mixdown - not if you have software like Ardour. The purpose
of the soundcard's mixer is to provide monitoring while laying
tracks, and function performed on a real mixer by the AUX busses.
I never have seen a mixer that has solo on the AUX busses.
For this kind of monitoring and this card you have two options:
one stereo monitor, or two mono ones. For the first you'd want
panpots. For the second you'd want two separte gains.
The compromise is what I proposed: one gain control and just L
and R buttons instead of full panning. This works well in both
cases.
Ciao,
--
FA
There are three of them, and Alleline.