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How is MOTU 16A holding up for you today?
Old 8th January 2020
  #31
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Emi View Post
Yes, the trim is analog controlled digitally, and it is indeed a very nice feature.

We use fixed gain preamps, like the Telefunken V72 and the possibility to trim before hitting the AD is really nice.
-5dB on my system sets a 1khz at +4 to -20dDFS in Reaper. They’re all referenced this way to start with. If I’m recording a quiet source and really pushing the preamp hard I can trim to 0dB and back off the preamp. If the preamp is barely being pushed I can take more off and bring the preamp up. It’s brilliant and not talked about much. It gives the engineer the ability to maximize gain staging.
Old 8th January 2020
  #32
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allstar's Avatar
 

Quote:
Originally Posted by HeadlessDinosaur View Post
The 16A is designed with the idea that someone is either using it to expand their channels and already has a primary interface, or they are using a console for everything and literally just needs i/o.

Thats why I suggested the 828es and 8A pairing.
I use a 16A as my only interface.

My setup looks like this ; 16 Mic/inst pre amps feeding the 16As line ins. Outputs 1&2 hooked up to monitoring. Outputs 9-16 feed headphone amps. 3-8 get used for whatever else might be going on.

I use the 16As internal DSP mixer to create all the foldback mixes as it means I can have lots of plug-ins running on my session without having to worry about latency or running out of CPU. I'm ususally doing all that on my ipad while the main screen looks after the DAW so no flicking between apps.
Old 8th January 2020
  #33
Emi
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Emi's Avatar
Yeah, we have 2 rooms, 1 with the 828es and the other with the 16a. In both rooms we like to insert hardware and for this, the 16a is great.

Don’t forget the adat ports. We use them for inserting digital units like the tc 4000 and the eventide Orville.
Old 8th January 2020
  #34
Gear Head
 

Quote:
Originally Posted by allstar View Post
I use a 16A as my only interface.

My setup looks like this ; 16 Mic/inst pre amps feeding the 16As line ins. Outputs 1&2 hooked up to monitoring. Outputs 9-16 feed headphone amps. 3-8 get used for whatever else might be going on.

I use the 16As internal DSP mixer to create all the foldback mixes as it means I can have lots of plug-ins running on my session without having to worry about latency or running out of CPU. I'm ususally doing all that on my ipad while the main screen looks after the DAW so no flicking between apps.
It really sounds as if I really could have some success with the 16A after all even though I still feel it has about 10 too many outputs for my use of it but the outputs do or course not bother me in anyway except that I’m paying for them without any real use for some of them but that’s the case with everything of course.

I’d need to get myself an external preamp if I would go for the 16a and I see no issue in that except that I just have to remember to calculate with that cost included as I find a preamp or channel strip that I like and I hope to find something a bit cheap second hand.

I really appreciate your input Allstar so that I know people are actually using it alone in their setups as well. I’m sure it would work great for me as well!

And yes the ADATs are really important as well! Wish I had some Eventide effect or such time run through ADAT
Old 8th January 2020
  #35
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I only skimmed the posts in this thread, but I have a 1248 (same family) and have so far (Years) had only good experiences. I have a Mac Pro cheese grater which does not have thunderbolt, it works great under USB. I do not use the built in plugins. If i had any criticism it is that routing is very flexible and for that reason can be a bit overwhelming for some...but this is really pretty minor, it just takes a minute to figure it out. I have never experienced “noise” that wasn’t caused by an external device.

While it’s likely that MOTU will eventually have a refresh or upgrade, I feel pretty comfortable in the quality and performance I get today, that I will not feel compelled to upgrade until either it fails or is no longer practical for my setup. MOTU has a solid history of supporting their products for a long time so I do not expect it to be immediately obsolete/incompatible like you find with certain other manufacturers.
Old 8th January 2020
  #36
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Brian M. Boykin's Avatar
Great point about USB. I have thunderbolt but have always run on USB. I mix OTB and have 32 outputs with no issues. I will add that I use very little plugins and only sum a few channels ITB before hitting the console so that could play into it. I can switch to thunderbolt if it ever poses an issue.
Old 8th January 2020
  #37
Gear Head
 

Quote:
Originally Posted by Brian M. Boykin View Post
Great point about USB. I have thunderbolt but have always run on USB. I mix OTB and have 32 outputs with no issues. I will add that I use very little plugins and only sum a few channels ITB before hitting the console so that could play into it. I can switch to thunderbolt if it ever poses an issue.
How come that you’re using USB over Thunderbolt? Because they didn’t include a cable and you had a usb cable over and it worked fine so you stayed with it? My fear is that the T2-chip will mess up USB and I’m hoping to have faster / less latency and a more stable interface though Thunderbolt because since I went from USB to FireWire everything started working better and then I went from FireWire to Thunderbolt and had an even more stable interface but it could of course be that the manufacturer has better drivers or lots of other reasons. I remember going from FireWire to Thunderbolt (Apollo twin) and I actually had pretty big issues regarding the low latency because I was so used to some latency that I played my instruments that way (a little earlier) but with the Apollo Twin that I got that just sounded very stressed so I had to re-learn playing the instruments more after what I actually hears and not what I expected.

But what would be the asvantwfes to choosing an 16a over a 828es? I know these are very different interfaces though I just wonder if there’s any advantages More than the inputs and outputs since the 16a is more expensive than the 828es or is it just that the 16 has all these channels? Is there a higher quality or something? Trying to compare these interfaces the service (PriceSpy) I use doesn’t really display any differences but I believe that’s due to not enough information read about them.

Really want to know what people look for when upgrading their interface, of course enough amount of inputs, the right protocol and features they want to use but what else? All technical data is like jidderish to me.
Sadly or I can’t say I’d something is good or bad out of the data though I can of course compare them if I find all the data.
Old 8th January 2020
  #38
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Sry View Post
How come that you’re using USB over Thunderbolt? Because they didn’t include a cable and you had a usb cable over and it worked fine so you stayed with it? My fear is that the T2-chip will mess up USB and I’m hoping to have faster / less latency and a more stable interface though Thunderbolt because since I went from USB to FireWire everything started working better and then I went from FireWire to Thunderbolt and had an even more stable interface but it could of course be that the manufacturer has better drivers or lots of other reasons. I remember going from FireWire to Thunderbolt (Apollo twin) and I actually had pretty big issues regarding the low latency because I was so used to some latency that I played my instruments that way (a little earlier) but with the Apollo Twin that I got that just sounded very stressed so I had to re-learn playing the instruments more after what I actually hears and not what I expected.

But what would be the asvantwfes to choosing an 16a over a 828es? I know these are very different interfaces though I just wonder if there’s any advantages More than the inputs and outputs since the 16a is more expensive than the 828es or is it just that the 16 has all these channels? Is there a higher quality or something? Trying to compare these interfaces the service (PriceSpy) I use doesn’t really display any differences but I believe that’s due to not enough information read about them.
I started with an 828es and as you say no thunderbolt cable was included so I just ran with it. Added the 16a and still no issues. I’m running off a MacAir so I only have one thunderbolt port which I utilized as the HDMI port for the 42” monitor. I’ve since added an Aphex ADAT DA converter with no issues either. I’m at 48k. No 96 or 192. I’m also OTB so latency isn’t an issue.
Old 8th January 2020
  #39
Gear Head
 

Okay thank you for sharing.

When you say you’re OTB you mean you only use the DAW as a tape recorder (or maybe not even using a DAW but just the interface for connecting the gear to an actual “tape recorder”?) but never use plugins etc? I have never had issues picturing it in front of me before but right now I don’t seem to focus so excuse me if the question is a bit “uninformed”. I do myself like the idea I’d bring OTB a lot and have read up some on how to get such a setup to work but have found it a bit too expensive for me to prioritize it but I still have some “dream” about going OTB for creating / writing songs and recording demos that way, I believe every I’d be much more focused with out the computer but of course there’s some cons as well but we’ll see, I guess I first would need to get myself some sort of recording device / porta / tape recorder.

I understand that with the air you would prefer the USB since you’ll not be able to run the screen on the other way around.
It would be interesting to hear how you decided on a MOTU interface from the start? What parameters / features was the most compelling?
Old 9th January 2020
  #40
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Brian M. Boykin's Avatar
OTB or “Outside the Box” means you mix using hardware. Usually on a console with outboard compressors, EQ’s, effects, etc... so yes, my DAW takes the place of a tape recorder. I use mostly filter plugins to create separation And just the stock ones at that. Nothing special. I’ll use effects sometimes. I mix back into the project and render the two stereo tracks to my format of choice. I’m a hold over from when 2Gigs of RAM cost a lot and we used PCI cards to get into the computer. No USB, FireWire, or Thunderbolt back then. CPU processor speed was not what it is today. Computers were current for about 6 months and technology was changing so fast it was expensive to keep up. 15 years later I still have the hardware compressors, EQ’s, and my console I bought and upgraded back then but I’ve been through 3 or 4 interfaces. ITB and OTB is not a religion to me, I started OTB and have stayed with it. It’s my preferred workflow and it works for me.
Old 13th January 2020
  #41
Gear Head
Quote:
Originally Posted by Brian M. Boykin View Post
The trimming is not part of the Digital Performer. I don’t use that or Que Mix because I monitor through a console. With the trim controls you can trim the input and output stages up or down to gain stage preamps better going in and consoles going out. It’s a nice feature. Also, I calibrated my Reaper meters to read -20dBFS when a 0VU/+4/1.228vRMS 1khz tone is going in. You can trim for whatever level you want but I went with -20.
Naming inputs is nice when you have 32 inputs. You’ll forget which channels have which preamp going to them.
I have the same setup (828ES + 16A) and that is exactly what I am trying to do. But I lost my multimeter somewhere. Did you end up with different levels on the trim's? And if not, may I ask what your input and output trims say? I have want the ins and outs to match dbfs-wise since I have some hardware I want to be in control over.
Thanks.

Last edited by Consig; 13th January 2020 at 10:27 PM..
Old 13th January 2020
  #42
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Consig View Post
That is exactly what I am about to do. But I lost my multimeter somewhere. Did you end up with different levels on the trim's? And if not, may I ask what your input and output trims say? I have want the ins and outs to match dbfs-wise since I have some hardware I want to be in control over.
Thanks.
The input trims were all set to -5dB. That was with a 1khz tone going in at 1.228vrms which is +4dBu and 0VU. I tested the first two or three inputs to check for consistency and then set the rest the same. -5dB put the meter in Reaper at -20dBFS. I go for a -6dBFS peaks when I’m tracking. I left the outputs at 0.
Old 13th January 2020
  #43
Gear Head
Quote:
Originally Posted by Brian M. Boykin View Post
The input trims were all set to -5dB. That was with a 1khz tone going in at 1.228vrms which is +4dBu and 0VU. I tested the first two or three inputs to check for consistency and then set the rest the same. -5dB put the meter in Reaper at -20dBFS. I go for a -6dBFS peaks when I’m tracking. I left the outputs at 0.
Thanks a lot mate. Any difference between ES and 16A or same setting?
Old 14th January 2020
  #44
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Consig View Post
Thanks a lot mate. Any difference between ES and 16A or same setting?
Nope. The same.
Old 14th January 2020
  #45
Gear Head
 

Not that I underatoos exactly how you did that calibration but nice that this is possible, I’ve noticed my recordings to have a lot more air when recorded somewhere with some headroom and having the meters not hit the top of the meters.
Old 14th January 2020
  #46
Gear Maniac
 

Interesting discussion - does anyone have pictures of the inside of this 16A?
Old 15th January 2020
  #47
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Brian M. Boykin's Avatar
I had pics at one time. It’s all surface mount. 5532 and 4580 op amps. I didn’t try to figure out where in the audio chain they lye. 5532 is legendary and the 4580 is very low noise. I replace 5532’s when I see them and this was my first run in with the 4580. It’s a drop in replacement for the 4558 and 4560 op amp. This tells me it’s not super fast or local psu caps would be needed to stabilize it and most designs woth 4558/60’s don’t have those parts. I’d be interested to know what Black Lion drops in.
Old 15th January 2020
  #48
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Sry View Post
Not that I underatoos exactly how you did that calibration but nice that this is possible, I’ve noticed my recordings to have a lot more air when recorded somewhere with some headroom and having the meters not hit the top of the meters.
I used a tone generator of the internet. Sent a 1khz sine wave tone into a channel of my console and sent it to the mix buss. I brought the signal up to 0VU which on my console is calibrated for +4dBu. On a multimeter that is measured at 1.228v RMS. I fed that back into an input of the Motu 828es. I armed a track in Reaper. The signal will show up with a peak dBFS level. I then trimmed the input channel in the MOTU software for -20dBFS.

Remember however, that VU meters read averages and your DAW meters read peaks. So if your sending in a source and the VU’s are averaging 0 to +1 VU your meters in your DAW will still be peaking much higher. What this does is help you gain stage correctly so all your gear is in its happy place for the best noise and distortion specs. You now have 20dB of headroom in your DAW when your analog gear is averaging at +4dBu. I aim for peaks of -6dBFS which leaves 6dB to digital distortion and re-recording the take.
Old 4 weeks ago
  #49
Gear Head
Quote:
Originally Posted by Brian M. Boykin View Post
I used a tone generator of the internet. Sent a 1khz sine wave tone into a channel of my console and sent it to the mix buss. I brought the signal up to 0VU which on my console is calibrated for +4dBu. On a multimeter that is measured at 1.228v RMS. I fed that back into an input of the Motu 828es. I armed a track in Reaper. The signal will show up with a peak dBFS level. I then trimmed the input channel in the MOTU software for -20dBFS.

Remember however, that VU meters read averages and your DAW meters read peaks. So if your sending in a source and the VU’s are averaging 0 to +1 VU your meters in your DAW will still be peaking much higher. What this does is help you gain stage correctly so all your gear is in its happy place for the best noise and distortion specs. You now have 20dB of headroom in your DAW when your analog gear is averaging at +4dBu. I aim for peaks of -6dBFS which leaves 6dB to digital distortion and re-recording the take.
I've tested, measured and read through the manuals but there is still one thing that I don't really understand.
Both 828ES and 16A Have that Spec.section in the manual saying:

Analog trims
All analog inputs and outputs can be trimmed.
This allows them to support a variety of standards,
including EBU-R68, SMPTE RP-155, +4dBu, -
10dBV, 2vRMS, 1vRMS


That can only be true for the inputs right?
I can only get 1.228Vrms from the outputs using EBU-R68 standard. I can calibrate the inputs to SMPTE and align to -20dbfs but the trims on the outputs on the same alignment gives me about 1Vrms.

I'm fine with EBUR68, that's what I'm used to but I wonder if I'm missing something? I like to align both inputs and outputs since I go back and forth from analoge HW all the time.

Thanks // Anders
Old 4 weeks ago
  #50
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Consig View Post
I've tested, measured and read through the manuals but there is still one thing that I don't really understand.
Both 828ES and 16A Have that Spec.section in the manual saying:

Analog trims
All analog inputs and outputs can be trimmed.
This allows them to support a variety of standards,
including EBU-R68, SMPTE RP-155, +4dBu, -
10dBV, 2vRMS, 1vRMS


That can only be true for the inputs right?
I can only get 1.228Vrms from the outputs using EBU-R68 standard. I can calibrate the inputs to SMPTE and align to -20dbfs but the trims on the outputs on the same alignment gives me about 1Vrms.

I'm fine with EBUR68, that's what I'm used to but I wonder if I'm missing something? I like to align both inputs and outputs since I go back and forth from analoge HW all the time.

Thanks // Anders
I did not trim my outputs but if I was going to I’d start by recording a 1khz tone at -20dBFS. And really, it doesn’t matter what level you record it at, only that you send it out at -20dBFS. Then set your multimeter up on that output and trim for the 1.228VRMS. You don’t have to record a new tone on each track, just slide the recorded tone down to the next track and do it again. Do as many as you need to to be satisfied you can set them all the same.

In the case of my console, it has an input gain that is set in PFL (pre fader level) mode. It has so much clean gain I’ve never felt the need to calibrate. The gain is adjusted from 7 o’clock to 5 o’clock and I have a mix pulled up now and the highest settings are at 2 o’clock with most around 9 o’clock to 12 o’clock. That’s with outboard compressors and EQ’s on the inserts and they have their own gain settings that affect the console PFL.

You have me curious now. I’ll record a tone and trim to see what I get and post.
Old 4 weeks ago
  #51
Gear Head
Quote:
Originally Posted by Brian M. Boykin View Post
I did not trim my outputs but if I was going to I’d start by recording a 1khz tone at -20dBFS. And really, it doesn’t matter what level you record it at, only that you send it out at -20dBFS. Then set your multimeter up on that output and trim for the 1.228VRMS. You don’t have to record a new tone on each track, just slide the recorded tone down to the next track and do it again. Do as many as you need to to be satisfied you can set them all the same.

In the case of my console, it has an input gain that is set in PFL (pre fader level) mode. It has so much clean gain I’ve never felt the need to calibrate. The gain is adjusted from 7 o’clock to 5 o’clock and I have a mix pulled up now and the highest settings are at 2 o’clock with most around 9 o’clock to 12 o’clock. That’s with outboard compressors and EQ’s on the inserts and they have their own gain settings that affect the console PFL.

You have me curious now. I’ll record a tone and trim to see what I get and post.
That is kind of how I did it. I have a stockplugin in logic that can send an 1khz sinus @ -20dbfs. And in the Motu-software I can't trim it up enough. :/ Maybe -19 would work, I haven't tried it since it isn't a "standard".

Curious if you get the same results. If so, IMHO I think they should say so in the manual.
Old 4 weeks ago
  #52
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Consig View Post
That is kind of how I did it. I have a stockplugin in logic that can send an 1khz sinus @ -20dbfs. And in the Motu-software I can't trim it up enough. :/ Maybe -19 would work, I haven't tried it since it isn't a "standard".

Curious if you get the same results. If so, IMHO I think they should say so in the manual.
So the level you record at matters which makes sense. I recorded the first tone as close to -20dBFS as I could get it. Played it back and had to set the fader to -14.8dBFS which was +7.57dB in Reaper to get an output of 1.228VRMS. So then I recorded a tone super hot. It was around -7dBFS (which consequently is where I like my levels to peak when tracking) and when I played it back I had to back off the fader. The interesting thing is my dBFS reading was -14.8dBFS, however, Reaper was reading at -7.46dB. How about them apples. This means Reaper is taking into account the level it’s recorded at and converting. I’ll have to study up on this more. I don’t have an answer except to record hot for better s/n ratio.

Pics below. Notice the difference in the size of the waveform. It’s to be expected when one is recorded hotter than the other. I always go for a nice big waveform.
Attached Thumbnails
How is MOTU 16A holding up for you today?-1d1ea718-d0fd-4fb1-b200-c2e3485d3c6b.jpg   How is MOTU 16A holding up for you today?-70af1174-bee6-4aa2-9548-0c1f87be6e32.jpg   How is MOTU 16A holding up for you today?-9a4a6eea-107c-42d6-b26d-39653a9bf361.jpg   How is MOTU 16A holding up for you today?-1f18d269-17b8-4494-bd80-0687af41a47e.jpg  
Old 4 weeks ago
  #53
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allstar's Avatar
 

Quote:
Originally Posted by Brian M. Boykin View Post
So the level you record at matters which makes sense. I recorded the first tone as close to -20dBFS as I could get it. Played it back and had to set the fader to -14.8dBFS which was +7.57dB in Reaper to get an output of 1.228VRMS. So then I recorded a tone super hot. It was around -7dBFS (which consequently is where I like my levels to peak when tracking) and when I played it back I had to back off the fader. The interesting thing is my dBFS reading was -14.8dBFS, however, Reaper was reading at -7.46dB. How about them apples. This means Reaper is taking into account the level it’s recorded at and converting. I’ll have to study up on this more. I don’t have an answer except to record hot for better s/n ratio.

Pics below. Notice the difference in the size of the waveform. It’s to be expected when one is recorded hotter than the other. I always go for a nice big waveform.
I'm finding it a bit difficult to understand the way you're describing things here. In your first picture it looks like you have Reaper's fader set to +7.57dB and the peak meter is reading -14.8dBFS. You describe it the other way round.

If I'm interpreting what's going on correctly I think what you're seeing here is there difference between Reaper being set to pre-fade metering or not. If you want to try changing that it's in the options menu.

I may be getting the wrong end of the stick here however !
Old 4 weeks ago
  #54
Gear Head
Quote:
Originally Posted by Brian M. Boykin View Post
So the level you record at matters which makes sense. I recorded the first tone as close to -20dBFS as I could get it. Played it back and had to set the fader to -14.8dBFS which was +7.57dB in Reaper to get an output of 1.228VRMS. So then I recorded a tone super hot. It was around -7dBFS (which consequently is where I like my levels to peak when tracking) and when I played it back I had to back off the fader. The interesting thing is my dBFS reading was -14.8dBFS, however, Reaper was reading at -7.46dB. How about them apples. This means Reaper is taking into account the level it’s recorded at and converting. I’ll have to study up on this more. I don’t have an answer except to record hot for better s/n ratio.

Pics below. Notice the difference in the size of the waveform. It’s to be expected when one is recorded hotter than the other. I always go for a nice big waveform.
I am not shure I understand all that... If you send a a testtone (recorded or from osc.plug) to an output 1kHz @ -20dbfs and crank up the output trim to max (0) in Motu software. Then measure with an DMM. How much do you get?
I only get 1.035Vrms.

best regards Anders
Old 4 weeks ago
  #55
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Brian M. Boykin's Avatar
Quote:
Originally Posted by allstar View Post
I'm finding it a bit difficult to understand the way you're describing things here. In your first picture it looks like you have Reaper's fader set to +7.57dB and the peak meter is reading -14.8dBFS. You describe it the other way round.

If I'm interpreting what's going on correctly I think what you're seeing here is there difference between Reaper being set to pre-fade metering or not. If you want to try changing that it's in the options menu.

I may be getting the wrong end of the stick here however !
How you describe it is how I meant to describe it. I did not know there was a pee-fade option. I’ll be checking that out today. I was hoping someone would chime in on this. Thank you.
Old 4 weeks ago
  #56
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Consig View Post
I am not shure I understand all that... If you send a a testtone (recorded or from osc.plug) to an output 1kHz @ -20dbfs and crank up the output trim to max (0) in Motu software. Then measure with an DMM. How much do you get?
I only get 1.035Vrms.

best regards Anders
If I played it back out at -20dDFS I didn’t even get 1VRMS, I got like 0.8VRMS. That’s what I’m trying to show in the first picture. I had to set levels at -14.8dBFS to get 1.228VRMS, however, the Reaper fader was at +7.57dB. When I recorded the tone at around -7dBFS the fader is still set to -14dBFS but Reaper is at -7.46dB. I’ll check out the PFL option today and see how that changes things.
Old 4 weeks ago
  #57
Gear Head
Quote:
Originally Posted by Brian M. Boykin View Post
If I played it back out at -20dDFS I didn’t even get 1VRMS, I got like 0.8VRMS. That’s what I’m trying to show in the first picture. I had to set levels at -14.8dBFS to get 1.228VRMS, however, the Reaper fader was at +7.57dB. When I recorded the tone at around -7dBFS the fader is still set to -14dBFS but Reaper is at -7.46dB. I’ll check out the PFL option today and see how that changes things.
Ah, now I get it. Sry must have been tired.

So... The conclusion to the part in the manual that says:
Analog trims
All analog inputs and outputs can be trimmed.
This allows them to support a variety of standards,
including EBU-R68, SMPTE RP-155, +4dBu, -
10dBV, 2vRMS, 1vRMS

The standards are only true to the inputs on the interfaces not always the outputs.
EBU-R68 = True SMPTE RP-155 = Not true

Or maybe I'm missing something... The standards maybe never refer to outputs only inputs?

I'll stick to EBU then.

Nice to see that you use the same interface/converter combo when these type of questions arise.

Happy Weekend and lots of thanks
Old 4 weeks ago
  #58
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Brian M. Boykin's Avatar
Quote:
Originally Posted by Consig View Post
Ah, now I get it. Sry must have been tired.

So... The conclusion to the part in the manual that says:
Analog trims
All analog inputs and outputs can be trimmed.
This allows them to support a variety of standards,
including EBU-R68, SMPTE RP-155, +4dBu, -
10dBV, 2vRMS, 1vRMS

The standards are only true to the inputs on the interfaces not always the outputs.
EBU-R68 = True SMPTE RP-155 = Not true

Or maybe I'm missing something... The standards maybe never refer to outputs only inputs?

I'll stick to EBU then.

Nice to see that you use the same interface/converter combo when these type of questions arise.

Happy Weekend and lots of thanks
So what’s happening here is Reaper is automatically adjusting the PFL gain so a recorded 1khz tone that was recorded at whatever level, if set to -14.8dBFS will play back at +4dBu/1.228VRMS. At least on my system. In order to change this, I’d have to trim the outputs in the 828es and 16a up which would require me to pull the fader in Reaper down to get to -20dBFS. The trim controls are maxed. You can only trim them back. The only other way would be to change the conversion ratio in Reaper which I have not found how to do if it’s even possible. I did find that you can change the meter minimum value which is cool for finding the noise floor when your tracking. Default is -62dBFS.
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