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optofonik

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optofonik last won the day on November 11 2018

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  1. As I understand it Apple's Core Audio is pretty solid. Nevertheless, used Focusrite Scarletts employ the same drivers as new ones, are unified across the line, and the 2nd gen units are relatively inexpensive. I use a 2nd gen 18i20 and Octopre Dynamic for work (not very demanding playback and occasional recording). Having never used the Helix interface I'm surprised the latency is so bad. Have you done a loop back test?
  2. First and foremost. the Helix is not a "professional audio interface". I've never used the audio interface of the HX series and I really wouldn't expect much from it. Low latency drivers are a specialty kind of thing. There are only a few developers that provide truly low latency drivers and they pay for them either through in house R&D or relying on third-party development. The lower end Focusrite Scarlett interfaces are about what one can expect at those price points when it comes to low latency amateur use. This thread, started 9 years ago and still going, is well worth the several days it will take to read and will provide real world insight into the subject: https://www.gearslutz.com/board/music-computers/618474-audio-interface-low-latency-performance-data-base.html
  3. https://www.disasterareaamps.com/shop/micro-ghost
  4. Is this a screenshot from HX Edit?
  5. Thanks for linking to the video. Fascinating stuff. I lived down the street from Grayson's Tune Town for about ten years and had the opportunity to meet Sam when I had some work done on one of my gits and again at a local restaurant where we had an opportunity to chat a bit. He offered to share his grilled bologna sandwich with me when I seemed a bit incredulous about hoe tasty a "grilled bologna" could be. He's good people (and was right about the sandwich; I ordered one during a later visit and it was the bomb).
  6. How would one "model" impedance?
  7. I asked a similar question recently and it didn't get a lot of replies. None, actually. I think what you and I a doing is a bit more out of the box than what most users here are doing. Talk to these cats and they will get you sorted. https://www.radialeng.com/contact EDIT: Looking at the specs of the Strymon it has a 100Ω output so you will at least need a direct box to go straight from it to the PA
  8. MIDI. The MS-70 is limited to patch changes but if the homework is done properly that's all one needs on the day.
  9. I'm wondering about the efficacy of the HX Stomp's output going into my reverb pedals, then to a Boomerang III, followed by a passive DI that goes to the console.
  10. I don't see anything that indicates how much DSP remains after filling a block with a particular effect. It would be helpful to anticipate the need to swap out particularly DSP intensive pedals for suitable substitutes when building a preset.
  11. As for studio monitors, look for the flattest response. The room you monitor in should also have a flat frequency response. Read the specs for the monitors you're considering and get the best you can afford. The room will require a spectrum analysis program for your OS system and a measurement microphone; some software can be had for free and affordable measurement mics are plentiful (as are expensive ones). Once you've bought your monitors, positioned the monitors, measured the room, and tuned the room as best you can, don't change or rearrange anything unless you plan to start the process all over. Next you need to break in your monitors by playing varied program material through your new monitors for a number of hours (use the widest range of program material available to you); every monitor is different when it comes to break-in time. Once your monitors are broken in, start listening to recorded program material you are familiar with using your newly broken in monitors. Keep listening. And listening. Listen to all the music you are intimately familiar with at no less than 16/44.1; no mp3s or any other so-called "lossless" audio files and nothing online, even so called "HD streaming". Learning your monitors will take some time but once you know them you will be able to translate what you hear through your monitors in your "studio" space to other listening environments and "speakers". Also, headphone require a break-in period as well.
  12. I've been meaning to post this because it's going on two weeks now since I updated my HX Effects and Stomp. It went well enough and has been so transparent that I had to check this morning and make sure I actually updated both units. I waited to do the update for a bit because of some posts about unsuccessful updates (at least one alleged "bricking") but when 2.92 came out I figured I'd give it a shot. Everything went swimmingly including restoration of my presets. Now, of course, I'm looking forward to the 3.0 update that allegedly increases the block count of the Stomp by two. That of course begs the question, "Will the block count for the HX Effects increase as well?"
  13. So far, so good. Make no mistake, though, the Roland UI is 1980s synth primitive and the ES-8 editor is 1990s third party primitive. I won't deny they're deep and detailed, but the Helix family's UI, hardware and software, are head and shoulders above Roland. MusicomLab may very well eat Roland's lunch by the end of 2020 but for now, even with the so-called "cons", Roland is winning. For better or worse, I had to start finding solutions now instead of waiting for Musicom Lab. A full stereo "HX Switch" with the Helix family's UI would be a unifying force in the pedalboard universe, though.
  14. Think of the Focusrite as nothing more than a multi-track tape recorder's back panel. If you have an amp then use the loop or not; either way put a mic in front of the cab's speaker, plug the mic into the Focusrite and start recording your EP. No amp? Find a patch, or make you own, utilizing one of the HX's excellent sims. Don't over complicate it. What are you using for "studio monitors"?
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