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#1
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
This has what I need as a hobbyist. Four preamps with two instrument
ready and extra line IO on the back. It has two phone jacks that can be fed the same, or different mixes. I can't find much in the way of how flexible the software is. My present interface, an M-audio Fast Track Ultra, does all of the above, but also has a great mixer panel. It has a tab for each output, and for each, I can mix any/all of my computer returns, or hardware inputs. Anyone know about the mixer for this unit? Also saw a demo on Youtube at 80db mic gain and I couldn't hear any noise. Anyone use one of these yet? Bonus question: Why would I pay $100 extra for the USB-C model? I mean the protocol is the same, right? Just the plug is different? Thanks! |
#2
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 7/03/2019 12:22 PM, Tobiah wrote:
This has what I need as a hobbyist.Â* Four preamps with two instrument ready and extra line IO on the back.Â* It has two phone jacks that can be fed the same, or different mixes. I can't find much in the way of how flexible the software is.Â* My present interface, an M-audio Fast Track Ultra, does all of the above, but also has a great mixer panel.Â* It has a tab for each output, and for each, I can mix any/all of my computer returns, or hardware inputs. Anyone know about the mixer for this unit? Also saw a demo on Youtube at 80db mic gain and I couldn't hear any noise.Â* Anyone use one of these yet? Bonus question:Â* Why would I pay $100 extra for the USB-C model? I mean the protocol is the same, right?Â* Just the plug is different? Thanks! Don't know what the bundled software is like, but presumably works similarly to most other DAWs. Maybe there is a downloadable trial version. Note that the 'Artist' version of Studio One supplied with the bundle does NOT allow use of 3rd party VST plugins, which is a major crippling. I guess they offer an upgrade path to the Pro version. Also "mixer" - why would you want a mixer, 'cos you are unlikely to want to do anything outside of the software application ? The 1810 has all the inputs and outputs you need. From what I could see USB-C applies to a different (smaller and more portable) model, and yes, really only means the different USB socket. geoff |
#3
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
Also "mixer" - why would you want a mixer, 'cos you are unlikely to
want to do anything outside of the software application ? The 1810 has all the inputs and outputs you need. Not a physical mixer. I'm talking about the software panel. The card I have gives a tab for every output. On each is a level for every software and hardware input. I've had units in the past that were crippled in this respect. |
#4
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
In article , Tobiah wrote:
Also "mixer" - why would you want a mixer, 'cos you are unlikely to want to do anything outside of the software application ? The 1810 has all the inputs and outputs you need. Not a physical mixer. I'm talking about the software panel. The card I have gives a tab for every output. On each is a level for every software and hardware input. I've had units in the past that were crippled in this respect. Right, why do you want that? You should be able to set the input gains manually, so you don't care about that. And you should be able to feed the converter outputs straight into your DAW application, so you don't care about being able to make premixes. So this "mixer" is just another layer of software to go wrong. Now, if you -cannot- set input gains manually, then maybe you need an application that does that... but that gives me the willies. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#5
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
Right, why do you want that? You should be able to set the input gains
manually, so you don't care about that. And you should be able to feed the converter outputs straight into your DAW application, so you don't care about being able to make premixes. I see what you're saying. I have all the routing and mixing I need in the DAW software. I guess it goes back to Mike's point about zero latency monitoring. Let's say a buddy and I are recording two tracks. If the interface mixer is done correctly, I'd have no problem making us each an individual phones mix of both of our inputs without making the trip through the computer. |
#6
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 3/8/2019 11:32 AM, Scott Dorsey wrote:
You should be able to set the input gains manually, so you don't care about that. And you should be able to feed the converter outputs straight into your DAW application, so you don't care about being able to make premixes. So this "mixer" is just another layer of software to go wrong. The "mixer" is a DSP chip in the interface. The software is the control panel for the mixer. This gives you a delay between mic in and headphone out in the low tenths of a millisecond, compared to the 2 or more milliseconds that it takes for the signal to go in, through, and out of the DAW software and back to the interface's headphone output. The small latency of the DSP mixer pretty much eliminates the comb filtering effect that you hear on your own voice when speaking into a mic connected to the interface input and hearing yourself on headphones. 2 or 3 or 4 milliseconds of latency is of little or no consequence when you're in the control room monitoring musicians playing in the studio, or when making field recordings, or even when you're playing an instrument and hearing yourself on headphones. But for vocals, unless you have the monitor level high enough so that it swamps out the through-your-head level at your eardrum (which is, I suspect the reason for the "I've never noticed that effect" reply when I mention it on line) the un-natural sound of your voice in the headphones bothers many people, whether they're singing or narrating. -- For a good time, call http://mikeriversaudio.wordpress.com |
#7
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PreSonus 1810 audio interface.
On 9/03/2019 6:10 AM, Mike Rivers wrote:
On 3/8/2019 11:32 AM, Scott Dorsey wrote: You should be able to set the input gains manually, so you don't care about that.Â* And you should be able to feed the converter outputs straight into your DAW application, so you don't care about being able to make premixes. So this "mixer" is just another layer of software to go wrong. The "mixer" is a DSP chip in the interface. The software is the control panel for the mixer. Surely there is an ASIO driver for the interface, which presents directly to the DAW of choice, without the likes of a mixer applet. Amongst others I have a Focusrite unit that operates this way in addition to a monitor headphone mixer directly from the interface box itself. But low latency input monitoring is also available to the normal output channels as well or instead. Can't imagine the Presonus would be much different, as 'pro-sumer' level gear. geoff |
#8
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 3/6/2019 6:22 PM, Tobiah wrote:
can't find much in the way of how flexible the software is.Â* My present interface, an M-audio Fast Track Ultra, does all of the above, but also has a great mixer panel.Â* It has a tab for each output, and for each, I can mix any/all of my computer returns, or hardware inputs. Anyone know about the mixer for this unit? PreSonus calls their mixer application UC-Surface. There must be a video of it somewhere on the web site. You can take a look at it he https://www.presonus.com/products/UC-Surface Personally I think it looks more complicated than it really is, but PreSonus likes to pack as many features as they can into whatever they build and leave it to you, the user, to decide what you don't want to bother with - though I don't know that you make things disappear from the user interface if you're not going to use them. But it does what the mixer application for any multi-channel audio interface does - gives you a low latency mix of your inputs and returns from the DAW software. Typically, when tracking you'll monitor your inputs, and when overdubbing, you'll monitor a mix of the inputs you're recording at the time plus a mix that you create using the DAW mixer (which appears in UC Surface as another mixer channel strip). Geoff: Also "mixer" - why would you want a mixer, 'cos you are unlikely to want to do anything outside of the software application ? The 1810 has all the inputs and outputs you need. You can work without the UC Surface mixer and just create monitor mixes in the DAW, but all the inputs make a trip through the A/D converter, DAW program, and D/A converter before they get to the output. This can be more latency than is comfortable. The mix that the UC Surface application controls is a DSP hardware-based mixer inside the interface box that offers much less time delay between mic input and headphone or monitor output. Also saw a demo on Youtube at 80db mic gain and I couldn't hear any noise.Â* Anyone use one of these yet? Turn up your volume, or figure out what the video is really about. I don't believe that there's really 80 dB of mic gain, but anyway that's kind of meaningless when it's being digitized anyway. The important specification - the one that practically nobody publishes - is the sensitivity at full gain. This is what signal level in gives you a full scale digital output from the A/D converter. Bonus question:Â* Why would I pay $100 extra for the USB-C model? I mean the protocol is the same, right?Â* Just the plug is different? The USB-C version will work with a smart phone. I suppose it could be handy if you're doing a live field recording and just capturing multiple tracks, but only young people who probably only produce EDM from samples would want to try to pretend that their phone is their audio workstation. -- For a good time, call http://mikeriversaudio.wordpress.com |
#9
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
What do you guys know about the 'XMAX' preamps in this unit.
The Fast Track Ultra I have uses preamps "based on M-Audio's Octane technology" for what it's worth. I'm looking for high gain and low noise like for intimate Foley stuff. |
#10
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 3/8/2019 12:41 PM, Tobiah wrote:
What do you guys know about the 'XMAX' preamps in this unit. The Fast Track Ultra I have uses preamps "based on M-Audio's Octane technology" Marketing fluff. I'm looking for high gain and low noise like for intimate Foley stuff. I don't believe you'll get what you're dreaming of with the PreSonus preamps. They're not colored, which I think is a good thing, but they'll need some help in the gain area with most modern mics when recording quiet sounds. While I haven't checked out that particular unit, they expect a fairly hefty signal going in from the mic. As a benchmark, at full gain, conversation-level speech a foot away from a Shure SM57 will get you a peak recording level of around -10 dBFS. Quiescent noise at full gain with the input terminated will be on the order of -75 dBFS. You would probably want something like a Cloudlifter in line with whatever mic you choose (and I'm not recommending an SM57 for Foley work!), or a really high gain, low noise outboard preamp in order to get a usable record level without pushing the PreSonus preamp to full gain. -- For a good time, call http://mikeriversaudio.wordpress.com |
#11
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
You would probably want something like a Cloudlifter in line with whatever mic you choose (and I'm not recommending an SM57 for Foley work!), or a really high gain, low noise outboard preamp in order to get a usable record level without pushing the PreSonus preamp to full gain. So any chance of doing better for my pair of NT-1A's for under $500? |
#12
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
You would probably want something like a Cloudlifter in line with whatever mic you choose
The cloudlifter looks interesting. $250 for two channels which might suit me quite nicely. What are they doing inside that they couldn't just build into a full preamp? |
#13
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On Friday, March 8, 2019 at 1:48:30 PM UTC-6, Tobiah wrote:
You would probably want something like a Cloudlifter in line with whatever mic you choose The cloudlifter looks interesting. $250 for two channels which might suit me quite nicely. What are they doing inside that they couldn't just build into a full preamp? Nothing, but manufacturers don't. Most preamps are designed around the expectation that users will psir them with hefty-output condenser mics rather tan low-output moving-coil dynamics and ribbon dynamics. The CloudLifter adds that capability (and, in one model, variable impedance). While you can design those into a full preamp, they cost money which manufacturers, looking at a competitive marketplce, don't want to spend. Thus the Cloudlifter, where the people who need that capability spend the money, but people who don't, don't. Peace, Paul |
#14
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
You would probably want something like a Cloudlifter in line with whatever mic you choose Reading about it, the Cloudlifter if for low output dynamics or ribbons, and doesn't pass through phantom power. Sounds like it's not right for the NT1-A's. |
#15
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 3/8/2019 2:56 PM, Tobiah wrote:
Reading about it, the Cloudlifter if for low output dynamics or ribbons, and doesn't pass through phantom power.Â* Sounds like it's not right for the NT1-A's. Foley is a pretty special thing, usually. If I was going to recommend a preamp for that application, I'd think about the AEA TRP-2. It can provide 85 dB of gain (the equivalent of a nominal 60 dB preamp with a CloudLifter) and while it was designed with ribbon mics in mind, it has switchable phantom power. But it's about a grand last I looked. Are you working with your M-Audio interface and not getting good results? If the A/D converters in it are respectable, you could continue to use that and try to find a preamp that will give you enough gain at low enough noise to be usable for your application. -- For a good time, call http://mikeriversaudio.wordpress.com |
#16
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
Are you working with your M-Audio interface and not getting good
results? If the A/D converters in it are respectable, you could continue to use that and try to find a preamp that will give you enough gain at low enough noise to be usable for your application. I get surprisingly clean results on things like classical guitar. I turn the gain knobs up about 3/4. When recording quieter things as I've described, I need to turn the gain up all the way (they say it's 60dB) and I then hear loads of whiteish noise. What's that trick I can use to make sure it's not coming from the mics or room? A resistor placed correctly? The unit sometimes generates odd blips and squeals which had me looking at replacing it. It's also really old and was not supported past Windows 7. I'm running 10 right now. The Presonus 1810 looks like it does everything I'm used to. I know this means nothing scientifically, but since they rate their preamps as providing 80dB of gain, I thought, hey, maybe they'll at least be quieter than the ones I have at 60dB. |
#17
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 2019-03-08 19:56:34 +0000, Tobiah said:
You would probably want something like a Cloudlifter in line with whatever mic you choose Reading about it, the Cloudlifter if for low output dynamics or ribbons, and doesn't pass through phantom power. Sounds like it's not right for the NT1-A's. Triton Audio makes a line of inline preamps like the Cloudlifter, including one that passes phantom power. See: https://www.tritonaudio.com/fethead-phantom.html |
#18
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 3/12/19 9:29 AM, Michael Beacom wrote:
On 2019-03-08 19:56:34 +0000, Tobiah said: You would probably want something like a Cloudlifter in line with whatever mic you choose Reading about it, the Cloudlifter if for low output dynamics or ribbons, and doesn't pass through phantom power.Â* Sounds like it's not right for the NT1-A's. Triton Audio makes a line of inline preamps like the Cloudlifter, including one that passes phantom power. See: https://www.tritonaudio.com/fethead-phantom.html The Fethead phantom looks interesting. I'd need 2 @ $100. |
#19
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
In article , Tobiah wrote:
What do you guys know about the 'XMAX' preamps in this unit. The Fast Track Ultra I have uses preamps "based on M-Audio's Octane technology" for what it's worth. I'm looking for high gain and low noise like for intimate Foley stuff. I have only used the StudioLive console preamps. They are pretty clean, but like the Mackies they change somewhat as the trims are altered and they not really something you want to be using wide open. You can do a whole lot worse and they are fine for general purpose stuff but don't expect them to be as quiet or clean as a Millennia. Then again, if you use a mike with a high enough output you may not need to be running them full out anyway. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#20
Posted to rec.audio.pro
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PreSonus 1810 audio interface.
On 3/8/19 10:53 AM, Scott Dorsey wrote:
In article , Tobiah wrote: What do you guys know about the 'XMAX' preamps in this unit. The Fast Track Ultra I have uses preamps "based on M-Audio's Octane technology" for what it's worth. I'm looking for high gain and low noise like for intimate Foley stuff. I have only used the StudioLive console preamps. They are pretty clean, but like the Mackies they change somewhat as the trims are altered and they not really something you want to be using wide open. You can do a whole lot worse and they are fine for general purpose stuff but don't expect them to be as quiet or clean as a Millennia. Then again, if you use a mike with a high enough output you may not need to be running them full out anyway. --scott It will be a pair of Rode NT1-A's. |
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