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Updates on Cranborne Audio Camden 500, 500R8, 500ADAT - Test Drive Mojo!
Old 3 weeks ago
  #271
Gear Nut
This thing sounds great. I've been using a Drawmer 1978 on my mixbus to satisfactory results until I hooked up the 500R8 ... then I heard distortion from the 78 that I'd not heard before. Checked it on my old set-up (a Sound Devices Mixpre 10M) & no distortion but obviously not as clear sound. Switched back & there was the distortion. It would disappear whenever I hit bypass on the 78 so I knew it was coming from the 78's active circuits. I sold it that same day to Guitar Center.

Tracking-wise, it's really cleaned up my workflow. Still trying to wrap my head around how to use it as a summing mixer as I like to mix into a 2-bus compressor (which as of now is The Glue ITB as the 1978 is gone) & it's been hurting my head at this late hour on how to make that happen.

Also noticed that the Camden mojo on Thump is adding quite a bit of DC offset to my drum track ... is that normal?
Old 3 weeks ago
  #272
Lives for gear
 
Quetz's Avatar
Can help you a bit with the summing part.
If you had analogue processors you would just route from Mix Out L/R on the back of the unit to your hardware mixbus chain then in to the DAW2 inputs.
Flick the daw switch to DAW2 and set the blend knob fully clockwise so you're only monitoring DAW2.
You can A/B the signal with/without 2bus processing simply by turning the blend knob fully between mix and daw.

For a mixbus with plugins you do the same but with the 'virtual' connections.
Create a channel in your DAW with your mixbus plugs on.
Make its inputs 9/10 (which are the USB inputs for the sum output).
Make its output 27/28 (the DAW2 outputs).
Now with blend set fully to daw and DAW2 selected, you'll hear the plugin mixbus.

The other option is to bounce down to three stereo stems instead of four for your final pass and use the last two R8 channels for your mix processing.
Old 3 weeks ago
  #273
Gear Maniac
Hey mkdvb

Thanks so much for the kind words and comparison to your other kit! Awesome!

Quote:
Originally Posted by mkdvb View Post
Also noticed that the Camden mojo on Thump is adding quite a bit of DC offset to my drum track ... is that normal?
So we are firmly into "secret sauce" territory here but the resulting audio/output of the Camden should not have any DC offset so something funky is going on here. Could you email us at [email protected] so we can work through this with you? We have some ideas of what it might be that's causing this so we would love to test some stuff with you.

Thanks mkdvb!
Old 3 weeks ago
  #274
Quote:
Originally Posted by mkdvb View Post
... then I heard distortion from the 78 that I'd not heard before.
Out of curiosity how were you connecting the Drawmer to the R8 and how were you monitoring it?

Thanks
Old 3 weeks ago
  #275
Gear Nut
Quote:
Originally Posted by Quetz View Post
Can help you a bit with the summing part.
If you had analogue processors you would just route from Mix Out L/R on the back of the unit to your hardware mixbus chain then in to the DAW2 inputs.
Flick the daw switch to DAW2 and set the blend knob fully clockwise so you're only monitoring DAW2.
You can A/B the signal with/without 2bus processing simply by turning the blend knob fully between mix and daw.

For a mixbus with plugins you do the same but with the 'virtual' connections.
Create a channel in your DAW with your mixbus plugs on.
Make its inputs 9/10 (which are the USB inputs for the sum output).
Make its output 27/28 (the DAW2 outputs).
Now with blend set fully to daw and DAW2 selected, you'll hear the plugin mixbus.

The other option is to bounce down to three stereo stems instead of four for your final pass and use the last two R8 channels for your mix processing.
The 1st option (mixbus into Drawmer 1978) was how I originally envisioned it but I don't see DAW2 on the USB inputs so no way for me to bring it back in using 500R8.

For convenience, I was going to go 6 channels into the Camdens as mixbus back ITB for stereo processing but couldn't figure out how that wouldn't feedback. Just dawned on me that I have to zero the Camdens' summing channel faders! Like I said it was late last night ....


Quote:
Originally Posted by Karpmentalise View Post
Hey mkdvb

Thanks so much for the kind words and comparison to your other kit! Awesome!



So we are firmly into "secret sauce" territory here but the resulting audio/output of the Camden should not have any DC offset so something funky is going on here. Could you email us at [email protected] so we can work through this with you? We have some ideas of what it might be that's causing this so we would love to test some stuff with you.

Thanks mkdvb!
Thanks, I'll definitely shoot a video over when I get some time. I don't know if it's DC offset or just an asymmetric wave or what the difference is. It sounds good but eats up my DAW headroom.

I was super stoked on the 500R8 but the Camdens were literally an afterthought that I only bought because Front End Audio made me an offer I couldn't refuse ... I was thinking they'd serve as pre's for now seeing as I had to sell my Phoenix DRS mk2 to finance the R8 ... but I'd sell them down the line for some Chromas. THEY'RE NOT GOING ANYWHERE. That mojo knob is addictive! Reviews had good things to say about thump but I put some cream on a murky demo & it opened straight up ... like how I always wished the Maag EQ4 plug would work (not tried the hardware).


Quote:
Originally Posted by TEMAS View Post
Out of curiosity how were you connecting the Drawmer to the R8 and how were you monitoring it?

Thanks
I don't remember, TBH ... that was so last weekend! I'm guessing I output a pair of module outs into the Drawmer, which lived in its own rack case w/ a graphic eq on the insert. Monitor was mainly cans, Q701s, & in this case some gaming speakers as I was in the family space. The Drawmer usually needed preamps to drive it but the R8 outputs superhot on everything, seemingly.

I'm also hearing noise now from my Eventide Eclipse I never notuced before. I kinda miss my blissful ignorance!

Here's a pic of it in its current rack case. I'm case-rich & module-poor, probably for rest of this year. Def needs the patchbay for me. A bit big to be ultraportable but the jump in quality from MixPre 10M + way better workflow (minus a few things like size & onboard recording) is worth it. Makes the MixPre sound like a Zoom (I've had the H2, H4n & r16 so I know!). Runs a little hot so needs a bigger case to vent it. I mistakenly got a 5U, hoping to get away w/ using patchbay as avent space. Nope.

Lastly, I really appreciate Cranborne taking the time to put it out almost fully functional, unlike other companies like Sound Devices that are making an mk2 barely a year after the original mixpre 10m. I also got my Moog Matriarch same day as the 500R8 & whie it sounds gorgeous, half the sequencer functionality isn't working properly.
Attached Thumbnails
Updates on Cranborne Audio Camden 500, 500R8, 500ADAT - Test Drive Mojo!-20190918_120346.jpg  
Old 3 weeks ago
  #276
Ok cool. I only asked because I was having issues with the DAW 2 Input distorting. It’s not mentioned in the manual, but after contacting tech support I learnt the DAW 2 input is actually unbalanced. Now I know this, I have a solution and it’s not a problem for me at the moment, but I can see how this might cause some issues in some cases.

[edit: I should add that support were very helpful in finding a solution to the issue]

Last edited by TEMAS; 3 weeks ago at 03:53 PM..
Old 3 weeks ago
  #277
Gear Nut
Quote:
Originally Posted by TEMAS View Post
Ok cool. I only asked because I was having issues with the DAW 2 Input distorting. It’s not mentioned in the manual, but after contacting tech support I learnt the DAW 2 input is actually unbalanced. Now I know this, I have a solution and it’s not a problem for me at the moment, but I can see how this might cause some issues in some cases.
Now that you mention it, I probably did have it on DAW2 because I was A/B'ing the ITB mix buss w/ the Glue vs the 78. Still feel pretty confident that the Drawmer was adding a little static because whenever I pressed bypass on the 1978, the noise would go away even though it was still running through the 1978 & coming back in on DAW2.

If I'm wrong, oh well!

On a related note, my Eventide Eclipse sounds like a damn Juno chorus through this thing ... I can hear noise floor, phasing, all sorts of gremlins I never noticed before!
Old 3 weeks ago
  #278
Gear Nut
 
Bodhifile's Avatar
Man, this thing really is pretty genius. Let me just say, if you are on the fence... go for it! You will not be disappointed. They are not messing around, it hangs with the big boys in conversion quality and feature set. I still haven't even run it through all its paces yet. I did have a few thoughts while working with it so far...

Future considerations for a possible mk2 version down the line (though I'm sure you guys have already thought about these, and implementation would probably raise the price too much or the like, but one can dream none the less) :

1. Power button for individual slots. The ability to power off modules that are not in use would be great, and also maybe save some current draw.
2. Stereo linking for chaining use. Creating a mixbus or mastering chain in stereo sequences would be amazing! EQ>Color>Comp>etc
3. Built in pad for monitor outputs. I'm all about sound quality too, I understand why you didn't- would be nice though.
4. Sub output parallel with the main monitoring. Would be convenient, there's other ways to do this though if needed.

Just dreaming, you guys have already knocked it out of the park!
Old 3 weeks ago
  #279
I’d like to see a basic companion unit, 3U high, that has 8 aligning module slots plus a separate 2 module compartment aligning with the master section. Rear inputs and outputs designed to connect with the unbalanced inserts of the R8, switchable to balanced I/O, if required.
Old 3 weeks ago
  #280
Lives for gear
Anyone using R8 with ADAT ins? (e.g. full band with 8 drums on ADAT, plus other drums/instruments analog in)

Be nice to get feedback from someone who can comment on how the monitoring works in this scenario - "on paper" for me it's a deal-breaker having to monitor the ADAT stream through the DAW, but I'm still trying to talk myself round , would be really good to get real-world feedback from someone who has used it in this "hybrid" monitoring setup (analogue summing monitor for analog ins, DAW return (with buffer latency) for ADATs).

VERY interested in any feedback of how this works in practice!



Great to see all the positive reports though, regardless of my own personal tickboxes, stoked for the Cranborne guys to see it in the wild and all their hard work paying off
Old 3 weeks ago
  #281
Lives for gear
 

Quote:
Originally Posted by gollumsluvslave View Post
Anyone using R8 with ADAT ins? (e.g. full band with 8 drums on ADAT, plus other drums/instruments analog in)

Be nice to get feedback from someone who can comment on how the monitoring works in this scenario - "on paper" for me it's a deal-breaker having to monitor the ADAT stream through the DAW, but I'm still trying to talk myself round , would be really good to get real-world feedback from someone who has used it in this "hybrid" monitoring setup (analogue summing monitor for analog ins, DAW return (with buffer latency) for ADATs).

VERY interested in any feedback of how this works in practice!



Great to see all the positive reports though, regardless of my own personal tickboxes, stoked for the Cranborne guys to see it in the wild and all their hard work paying off
I haven’t specifically used the Cramborne ADAT device, but I’ve used a few others like that. You would probably want to use something that allows direct monitoring. I use the UAD interfaces with a non-UAD ADAT expander and direct monitor through their Console system. Almost zero latency, doesn’t hit the buffer, I actually keep my buffer at max when recording this way. I’ll probably get the Cranborne 500ADAT eventually and use it exactly this same way.
Old 3 weeks ago
  #282
Lives for gear
Quote:
Originally Posted by BrentA View Post
I haven’t specifically used the Cramborne ADAT device, but I’ve used a few others like that. You would probably want to use something that allows direct monitoring. I use the UAD interfaces with a non-UAD ADAT expander and direct monitor through their Console system. Almost zero latency, doesn’t hit the buffer, I actually keep my buffer at max when recording this way. I’ll probably get the Cranborne 500ADAT eventually and use it exactly this same way.
It's any ADAT inputs to the Cranborne R8 i'm interested in, not specifically the Cranborne 500 ADAT, just to be clear! (e.g. in my case it would be an Audient ASP800 adat/preamp that would be going in to the R8) - so far most of the reports/ use cases are around use cases that I'm certain the R8 excels at - overdubs / mix downs etc. It's that initial tracking of 16 tracks (8 analog/8 adat) across hybrid monitoring I'm interested in getting feedback on.

I know the R8 doesn't have direct monitoring (i use my current Motu interface this way - max buffer, dsp monitoring), so the workaround is that the ADAT inputs are returned from DAW (using whatever DAW monitoring solution) and mixed into the analog summing / monitor mix.

Just looking for reports form any R8 owners that have tried this setup and how it worked / sounded / felt?
Old 3 weeks ago
  #283
Gear Nut
 
Bodhifile's Avatar
Quote:
Originally Posted by gollumsluvslave View Post
It's any ADAT inputs to the Cranborne R8 i'm interested in, not specifically the Cranborne 500 ADAT, just to be clear! (e.g. in my case it would be an Audient ASP800 adat/preamp that would be going in to the R8) - so far most of the reports/ use cases are around use cases that I'm certain the R8 excels at - overdubs / mix downs etc. It's that initial tracking of 16 tracks (8 analog/8 adat) across hybrid monitoring I'm interested in getting feedback on.

I know the R8 doesn't have direct monitoring (i use my current Motu interface this way - max buffer, dsp monitoring), so the workaround is that the ADAT inputs are returned from DAW (using whatever DAW monitoring solution) and mixed into the analog summing / monitor mix.

Just looking for reports form any R8 owners that have tried this setup and how it worked / sounded / felt?
just thought of a workaround for this:

The 500R8 will work with multiple DAWs open simultaneously (similar to my Mutec USB 3+, most don't BTW- due to USB driver limitations I believe). You can open up a secondary DAW (at the same SR obviously) with a very low buffer and use it only for monitoring/monitor mixing the ADAT channels. I tested the principle with Studio One 4.5 and Digital Performer 10, and it works! I will test some ADAT channels at some point just to be sure. You can even use your favorite plug-ins for the ADAT monitoring mix if so inclined (as long as your computer can handle it). Again, you are basically just using DAW 2 as a software mixer for the ADAT monitoring. You can leave your primary DAW at max buffer, no problem. Both DAWs will show up in confluence through the 500R8's USB "DAW" stream (R on the Monitor and Aux blend). I've done something similar with great success before in another scenario.
Old 3 weeks ago
  #284
Lives for gear
Quote:
Originally Posted by Bodhifile View Post
just thought of a workaround for this:

The 500R8 will work with multiple DAWs open simultaneously (similar to my Mutec USB 3+, most don't BTW- due to USB driver limitations I believe). You can open up a secondary DAW (at the same SR obviously) with a very low buffer and use it only for monitoring/monitor mixing the ADAT channels. I tested the principle with Studio One 4.5 and Digital Performer 10, and it works! I will test some ADAT channels at some point just to be sure. You can even use your favorite plug-ins for the ADAT monitoring mix if so inclined (as long as your computer can handle it). Again, you are basically just using DAW 2 as a software mixer for the ADAT monitoring. You can leave your primary DAW at max buffer, no problem. Both DAWs will show up in confluence through the 500R8's USB "DAW" stream (R on the Monitor and Aux blend) . I've done something similar with great success before in another scenario.
Interesting! Windows or Mac? Would never have thought the 2 daws would work with the same ASIO driver simualteanously, but very interesting indeed...
Old 3 weeks ago
  #285
Gear Nut
 
Bodhifile's Avatar
Quote:
Originally Posted by gollumsluvslave View Post
Interesting! Windows or Mac? Would never have thought the 2 daws would work with the same ASIO driver simualteanously, but very interesting indeed...
Oh, right Mac that is (core audio, I'm on Mojave)! Sorry, have not tried on Windows.
Old 3 weeks ago
  #286
Gear Nut
Quote:
Originally Posted by Bodhifile View Post
Man, this thing really is pretty genius. Let me just say, if you are on the fence... go for it! You will not be disappointed. They are not messing around, it hangs with the big boys in conversion quality and feature set. I still haven't even run it through all its paces yet. I did have a few thoughts while working with it so far...

Future considerations for a possible mk2 version down the line (though I'm sure you guys have already thought about these, and implementation would probably raise the price too much or the like, but one can dream none the less) :

1. Power button for individual slots. The ability to power off modules that are not in use would be great, and also maybe save some current draw.
2. Stereo linking for chaining use. Creating a mixbus or mastering chain in stereo sequences would be amazing! EQ>Color>Comp>etc
3. Built in pad for monitor outputs. I'm all about sound quality too, I understand why you didn't- would be nice though.
4. Sub output parallel with the main monitoring. Would be convenient, there's other ways to do this though if needed.

Just dreaming, you guys have already knocked it out of the park!
Damn, new features list started already? OK then ... I'd really love to be able to bring DAW2 in via the ADC (there's 2 slots open right now w/ the SPDIF out of commish!). That would allow for outboard processing of the summing mix in one go for those of us who are using the R8 as the main workhorse. Too bad there's no way to switch between the two as an option but I understand the box is packed to the gills.

I'm in love w/ this box & as I mentioned in another thread, the 500R8 + Camdens arrived the same day as the Moog Matriarch & the Moog sat unopened through the weekend while I got acquainted w/ this excellent box.

Unfortunately my next 3 "studio" recordings have already been tracked for the most part (mixing is another story) so I thought some "jams" might be a good way to put all the new gear through its paces.

This track here is all Moog Matriarch + Volca Beat on drums, thru the 500R8. I tend to like warm, dark synth patches w/ more closed filters so that combined w/ the Matriarch's dark delay ... the Camden cream mojo got a lot of use. I found myself not using Ozone's exciter as much & like I said earlier, it's put a major crimp in my plans to get the LTL Chromas later on (in a good way as Cams are half the price!). Speaking of closed filter sounds, another wishlist would be summing mixer gains to somehow double as line boosts into ADC ... only having a pair of preamps kinda sucked for efficiency. I know, there's no room in the box! I'm sure this won't be a problem once I can fill out my rack.

The thump mojo was great as well. I always struggle w/ low end in my mixes so the thump is kind of a godsend! You get a nice but TIGHT bump in the low end, unlike plugs where I often wind up with low end that lacks definition or gets woofy (user error, I know!). I hardly ever resorted to the Pultec cut/boost or other tricks. Even better, I could hear what the tracking & plugs were doing, like unnecessary distortion or clipping, where before I couldn't & then by final mixdown, I'd be left wondering why the mix is so brittle?!?

There was nothing planned about this track so the bassline sequence was actually molded post-tracking (which was hitting record while my mate twiddled the synth for 5 min) from the originally melodic sequence, where I used everything including plugs & thump to get that low-end. In hindsight, I should have sent it through cream as well because you can't hear the bass on laptop/phone (or maybe play a proper bassline!).

Usually I'm pretty good about checking that due to IG but the thing is the 500R8 sounds amazing that I kinda just got lost in the sound. Before, I'd mix on Q701s w/ a Sound Devices MixPre 10M (I don't have a mix room), sometimes through a headphone amp but it didn't matter ... either way after a while, my ears would fatigue & everything would just sound bad, like how a word doesn't look right anymore once you stare at it too long, so I'd always have to switch up what I listened on, including the plain old laptop speakers. The 500R8, I never got that ear fatigue ... it powers the Q701s easily, anything past 10 oclock starts getting uncomfortable & everything sounded as good as it did in the room (& maybe a smidge better if I did OK as a mixer?).

It sounds so good, that anything that's off sticks out even at low volume. Now I know I need better cans than the Qs. I jettisoned the Drawmer 1978. I learned that balanced in/outs matter. And I know now that I gotta work on my gainstaging! It's taken me a long time to figure out why studio gearheads go on & on about meters & knobs but the 500R8 has me seeing the light.

Anyway, here's the track, don't mind the playing ... whatever meager chops I may have wished I had haven't been helped by sequencing most of the last year.

tl;dr ... anyone who's like me, an artist who has to wear all the hats, I can't recommend this box highly enough. It's a little pricey but not really for everything you're getting at that quality.

I guess this was kind of a review!

Old 3 weeks ago
  #287
Quick question, not sure if this has been covered.

If I put a mono two slot module into slots 1&2, is there any way to still use the unused mixer channel?
Old 3 weeks ago
  #288
Lives for gear
 
Quetz's Avatar
Quote:
Originally Posted by TEMAS View Post
Quick question, not sure if this has been covered.

If I put a mono two slot module into slots 1&2, is there any way to still use the unused mixer channel?
Yes.

I'm doing the same thing with my two GAP Comp 554s.
Just set the switches for the 'redundant' slots to disabled (the switches are on the inside back).
Now when source is set to analogue the insert and output will be fed from the xlr in and when set to usb they'll be fed from the daw feed.

Set to analogue or CAST you can still address the USB I/O streams directly (and independently).
Old 3 weeks ago
  #289
Lives for gear
 
TREMORS's Avatar
Anyone using the ADAT only version?

I have a few questions.
I will be buying one and using with a UA Apollo twin.
Alas, the twin does not have ADAT out, which is how the summing mixer section gets the stems from if I'm correct.

Minidsp makes an ADAT I/o box with USB so conceivably at final mixdown I can switch to it as the output.
Since it's all USB and ADAT I/o there is no conversion correct?

The DAC/ADC in the 500ADAT would be the only conversion right? As I assume it's superior.
Old 3 weeks ago
  #290
Lives for gear
 
Sigma's Avatar
just bought the Camden..WOW the "mojo" thump/cream is great
Old 3 weeks ago
  #291
Lives for gear
 
Quetz's Avatar
They demoed the Camden for me in KMR's listening room when I picked up my R8.
We were listening at a very conservative volume and my eyes still popped when I heard the thump, and it was fascinating hearing a snare get tucked perfectly in the mix using just a bit of cream.
Really cool little box!
Old 3 weeks ago
  #292
Gear Maniac
Quote:
Originally Posted by TREMORS View Post
Anyone using the ADAT only version?

I have a few questions.
I will be buying one and using with a UA Apollo twin.
Alas, the twin does not have ADAT out, which is how the summing mixer section gets the stems from if I'm correct.

Minidsp makes an ADAT I/o box with USB so conceivably at final mixdown I can switch to it as the output.
Since it's all USB and ADAT I/o there is no conversion correct?

The DAC/ADC in the 500ADAT would be the only conversion right? As I assume it's superior.
Hey TREMORS,

Yep - your understanding is spot-on. The 500ADAT does all of the conversion and uses the ADAT protocol across a lightpipe/toslink cable to transport the digital audio into your host USB interface.

The Minidsp box you mention seems like it will.do the trick, but I've never used it so I can't vouch for it. I'm also not sure if it can clock off an external device using ADAT, which means that the Minidsp may have to be set as the master clock and then your 500ADAT will have to slave to that clock which will be inferior. However, the 500ADAT will be able to recover a clock that is between 6-8 picoseconds of jitter so not the end of the world.

One device I can vouch for and is only a bit more expensive is an RME Digiface USB which has 4 sets of ADAT I/O (so you can use up to 4x 500ADATs at 48kHz.... 32 slots and 32 channels of summing) but has the added benefit of RME's rock-solid USB drivers, RME Totalmix so you can make low-latency mixes, etc, and clock externally to 500ADAT's ADAT clock. But again, Minidsp should do the trick as well.

Cheers TREMORS!

Sean
Old 3 weeks ago
  #293
Lives for gear
 
TREMORS's Avatar
Quote:
Originally Posted by Karpmentalise View Post
Hey TREMORS,

Yep - your understanding is spot-on. The 500ADAT does all of the conversion and uses the ADAT protocol across a lightpipe/toslink cable to transport the digital audio into your host USB interface.

The Minidsp box you mention seems like it will.do the trick, but I've never used it so I can't vouch for it. I'm also not sure if it can clock off an external device using ADAT, which means that the Minidsp may have to be set as the master clock and then your 500ADAT will have to slave to that clock which will be inferior. However, the 500ADAT will be able to recover a clock that is between 6-8 picoseconds of jitter so not the end of the world.

One device I can vouch for and is only a bit more expensive is an RME Digiface USB which has 4 sets of ADAT I/O (so you can use up to 4x 500ADATs at 48kHz.... 32 slots and 32 channels of summing) but has the added benefit of RME's rock-solid USB drivers, RME Totalmix so you can make low-latency mixes, etc, and clock externally to 500ADAT's ADAT clock. But again, Minidsp should do the trick as well.

Cheers TREMORS!

Sean
Thanks for this.
I had considered the RME unit, but my limitation at this point is monetary, even just a couple hundred bucks lol

And honestly, for my needs, the 500 series to ADAT is my primary attraction to the unit.
Plus then ill be navigating both TotalMix and UAD's Console software mixer

My ultimate plan is to upgrade to UAD's Apollo newer rack line next year, which does include ADAT input and output, but thats gonna require a new PC for thunderbolt 3, and therefore the $ for the miniDSP seems worth a shot as its not much more expense, as short term solution (though aimed more at home listner audiophile types than recording, it seems).

ill be sure to report back
Old 2 weeks ago
  #294
Gear Nut
My unit finally made it to Long and Mcquade. Should have it within a week.
Old 2 weeks ago
  #295
Gear Nut
Okay so I got it and I went to test it out on summing and saturating a few mixes. I must just be setting it up wrong or something because I'm getting this crazy distortion that sounds like I'm sweeping through the FM bands on a radio trying to find something to listen to. Needless to say its a little bit too much character for my taste. (lol) It kind of sounds like a sine wave pitching up and down with radio distortion behind it.

Basically I plugged in the adat cables from and to the ID22. So they're going both ways. I did set the clock source on the ID22 to be the 500 adat. Then I just sent some TRS to XLR from the mix out to the two preamps on the ID22. I'm going from 4 mixbusses in the DAW through adat into the unit. So the Drum and Bass bus directly outputs to Optical 1/2, the instruments go to optical 3/4, the vocals go to optical 5/6, and the reverbs go to optical 7/8. Then it all gets summed, comes out the mix L/R and goes back into an aux whose input is Analogue 1/2, (the interface preamps,) and then that aux outputs to the monitors, or to an audio track for printing.

So what am I doing wrong? Is it like a sample rate thing?

When I turn the mix knobs on the individual channels I get this insanely clipped version of my mix with the same noise behind it. I have the interface preamps barely moved off 0 gain and just barely nudging the mix knobs seems to get me to around -10 dB peaking in Pro Tools, but it sounds insanely clipped.

Set the thing to internal, which is what the manual says it should be to be the master clock.

K, looks like that fixed it.

I have an even stupider question though. How do I get it to sum without actually filling it with modules? I was kind of under the impression that it would actually do that. If it doesn't then I guess I'll just be throwing red silk on every 2mix I print until I get more modules.
Old 2 weeks ago
  #296
Gear Maniac
Quote:
Originally Posted by Dlane View Post
Okay so I got it and I went to test it out on summing and saturating a few mixes. I must just be setting it up wrong or something because I'm getting this crazy distortion that sounds like I'm sweeping through the FM bands on a radio trying to find something to listen to. Needless to say its a little bit too much character for my taste. (lol) It kind of sounds like a sine wave pitching up and down with radio distortion behind it.

Basically I plugged in the adat cables from and to the ID22. So they're going both ways. I did set the clock source on the ID22 to be the 500 adat. Then I just sent some TRS to XLR from the mix out to the two preamps on the ID22. I'm going from 4 mixbusses in the DAW through adat into the unit. So the Drum and Bass bus directly outputs to Optical 1/2, the instruments go to optical 3/4, the vocals go to optical 5/6, and the reverbs go to optical 7/8. Then it all gets summed, comes out the mix L/R and goes back into an aux whose input is Analogue 1/2, (the interface preamps,) and then that aux outputs to the monitors, or to an audio track for printing.

So what am I doing wrong? Is it like a sample rate thing?

When I turn the mix knobs on the individual channels I get this insanely clipped version of my mix with the same noise behind it. I have the interface preamps barely moved off 0 gain and just barely nudging the mix knobs seems to get me to around -10 dB peaking in Pro Tools, but it sounds insanely clipped.

Set the thing to internal, which is what the manual says it should be to be the master clock.

K, looks like that fixed it.

I have an even stupider question though. How do I get it to sum without actually filling it with modules? I was kind of under the impression that it would actually do that. If it doesn't then I guess I'll just be throwing red silk on every 2mix I print until I get more modules.
Hi Dlane,

Happy to hear your unit arrived! And glad to hear you found the cause of the gritty sound to start. Obviously this shouldn't be this way haha - I'm imagining it was a clock setting somewhere? Or sampling rate mismatch?

As for your question about how to use it as a summing mixer without modules - absolutely you can! Inside the unit on the backplane PCB where the 500 series slots are you'll find the module bypass switches. This takes the 500 series slot out of the channel but everything else remains (line/ADAT/CAST input, inserts, direct outs, and mixer channel). Just flip the module bypasses to bypass any slots you don't have filled and then you can use those channels.

Happy mixing!

Sean
Old 2 weeks ago
  #297
Gear Nut
Oh sweet! That's awesome. Here's the first thing I did with it. Just sent this mix through the only two modules I have. I will post a summed version for comparison, but it might not sound as good because the other busses will lack saturation.
Attached Files

Contact Print.Red Silk.mp3 (12.40 MB, 412 views)

Old 2 weeks ago
  #298
Gear Nut
Here is the same mix summed with red silk only on the vocal bus.
Attached Files

Contact Print.Summed.mp3 (12.43 MB, 424 views)

Old 2 weeks ago
  #299
Hi again.

I asked about this a while back, but just realised I didn't entirely get all the information I wanted.

RE the unbalanced insert points. Can someone confirm what they are calibrated at (-10 or +4) and exactly what the headroom is at the output and input stages of the inserts?

Thanks
Old 2 weeks ago
  #300
Here for the gear
 

Quote:
Originally Posted by TEMAS View Post
Hi again.

I asked about this a while back, but just realised I didn't entirely get all the information I wanted.

RE the unbalanced insert points. Can someone confirm what they are calibrated at (-10 or +4) and exactly what the headroom is at the output and input stages of the inserts?

Thanks
Hi Temas,

The unbalanced inserts send and return is 6dB lower than the balanced inputs and outputs so calibrated to +4dBu would be 14dB of headroom.

0dBFs on the DACs and ADCs if there is no module gain is therefore equivalent to a maximum 18dBu at the send and return although the unbalanced send output actually has a little more headroom and can output up to 20.5dBu if the module has some gain in it. (has a little bonus headroom on the output effectively)

Dynamic range of the insert send and returns is 121dB referred to an 18dBu input/output.

Hope that helps!

Ed
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