Hello
What is the best way to record a analog rytm? To get as good sound quality as possible,
now i have a apogee quartet, and 2 balanced 1/4 to xlr cables,
should i use balanced input on the soundcard? or should i use the mic preamp? or any better way?
wondering because if i listen to analog rytm with headphones output i get better sound than if i plug the AR to my soundcard and listen to it via the directmonitoring of the soundcard…
I select “Instrument” in Maestro and turn the preamp level up to about 14 for each channel. That gives it a nice warm signal.
It’s probably just coming out louder through the Rytm directly. The sound card isn’t making it “sound worse”.
Im using an Apogee Ensemble Thunderbolt, so might be a little different.
You use the same headphones for monitoring both methods? Might be that the ARs headphone out has a more compatible output impedance with your 'phones than your Apogee? I doubt that the diff would be significant otherwise… Check this first.
Also, you can easily test recording from the HP out using appropriate cables into the apogee, recording from the main outs with balanced cables, and then A/Bing (level-matched, of course!) for any diffs. If there really are big differences between the outputs, it should become apparent using this test.
Sorry guys there’s a bit of confusing advice here…
The Analog Rytm outputs LINE level signals.
This is not the same as INSTRUMENT level and certainly not the same as MICROPHONE level!
To record the Rytm you need a balanced Line level cable.
If your audio interface has Line inputs via 1/4’’ connectors then you need a Balanced 1/4’’ cable (balanced means that the 1/4’’ cable is a TRS or “Stereo”).
If your interface has an XLR Line input then you need to have an XLR on one end… it’s still just a balanced cable.
INSTRUMENT output level is considerably lower than line level. Instrument level is what comes out of electric guitars, basses etc.
The Rytm doesn’t output instrument level. Instrument level also differ in Impedance from Line level, therefore, connecting the Rytm to an “Instrument” input is not a good choice.
There’s really no reason to use a preamp here unless you want to add (even more) coloration to the sound.
If you want to use a preamp in your chain, you have to realize that a preamp’s input handles MICROPHONE levels.
In order to use it properly with a LINE level device like the RYTM, you need to first attenuate the output to mic level.
This is what DI boxes do.
What you do then is connect the Rytm to a DI (1/4’’ - XLR) and then connect the output of the DI to your preamp. then you can raise the gain on your preamp to get a proper recording level.
Now to answer your original question 
The best way to record requires a good interface with good AD converters. It also requires good cables. Cables make a difference!
I only use StarQuad cables (4 conductor cable). The two main companies that manufacture 4 conductor cables are either Mogami or Canare. Both are considered the industry standard for high-end cable.
They are more expensive than your regular store bought cable, but if you learn to solder it’s cheaper than the cheapest store bought cable…
If you hear a difference between the headphone out and the soundcard out, there are several factors to consider:
[ul]
[li]Too long of a signal path[/li]
[li]Mediocre cables[/li]
[li]Sample rate/Bit depth of the recorded signal?[/li]
[li]Mediocre sound card…[/li]
[/ul]
Hope this helps.
Eitan
Taken from Analog Rytm manual:
Main Out L/R. Use either 1/4” mono phone plug (unbalanced connection) or 1/4” (Tip/Ring/Sleeve) phone plug (balanced connection).
When using 1/4 TS or TRS cables with Apogee sound cards you must select “Instrument” in Maestro.
Taken from Apogee manual:
When using the 1/4” input, the source must be set to “Inst”.
Sorry, my advice is just stating facts and trying to give some solid accurate concepts of cable tech and level types.
Sorry mate, unbalanced and balanced are not the same thing…
The Rytm gives you the option for both for convenience.
But Unbalanced cabling has less dynamic range and less output level…
Furthermore, Unbalanced Cabling is prone for noise and interference. I will NEVER use Unbalanced cables in my studio unless I have to.
It’s just facts…not myths
And I don’t know anyone that would use an Unbalanced cable UNLESS the device is specifically made for only Unbalanced connection (such as Electric Guitar for instance)
I’m looking at the Apogee Quartet’s manual and it does not mention ANYTHING about the analog inputs. BUT since they are combo jacks they are obviously BALANCED inputs. The rest is set in software.
Sure you can use an unbalanced cable…but why?
Try to compare your Hosa cables with 4 conductor cable…have you?
I (and many others) hear a difference. The main quality difference is with comparing 2 to 4 conductor cable types and when you have long runs.
I have yet to visit a professional studio that is wired with Hosa…sorry.
My only intention here is to share knowledge…not my opinion
I run mine very hot into a Neve clone Great River preamp and a 4 channel tube preamp.
Sounds good to me…
hey teomi … u r spot on and must be very smart with all that knowledge bomb… I wish I would remember all that after reading through …
there is 1 thing I d like to mention… I managed to buy a non balanced XLR cable (xlr to the same size a headphone on the AR is.…) … my assumption was , every XLR is balanced… just saying…
cheers bro!
All great info here. Thanks very much.
I have a question; I’ve always assumed the answer but stilla bit confused.
When you raise the gain are you in effect employing the preamp? Or is employing the preamp (on an interface or adat, in my case) entirely seperated from whether fain is used or not.
I too hear obvious differences from what comes out if my hardware headphone output and that which comes from recording. I writw this off to an invetible loss through cables, inputs, conversion, clock, speakers ect. Maybe I’m not being thorough enough on my recording stage? Will there inevitability be a difference between the two?
Well, did you check the HP impedances? That’s where I’d start…
And whether your audiointerfaces gain increases the gain pre or post conversion, I don’t have an apogee so you will need to read the manual.
Oh. I’m not the OP. Sorry for the confusion.
But in diving further into the matter I’ve just taken a look at my cables and they are TS not TRS. Damnit! I’m going to raise hell at that store…
Ya live, ya learn.
Re preamp/gain: let me try a different question. Even if one is using a LineLevel input, one is still using a preamp?
Edit: Sorry for the absolutely noob questions. PEOPLE OF EUROPE: seems the two he mentioned are kind of only Stateside. I’m going to start paying more attention to my cables. From which cable companies do you get yours? I’m seeing Vovox at Thomann…
If you’re using line level (with Apogee) you’re bypassing the Preamp.
Otherwise, if you’re using instrument or mic, and you raise the gain (in Apogee’s Maestro software), you are increasing the volume of the Preamp.
Can’t comment on how it works on your particular audio interface.
I use HOSA cables. But I’m a hobbyist and don’t run a professional studio. If I were to upgrade my cables I would go for something like this.
I don’t feel the more expensive cables justify the price.
I personally have a RME Babyface. I either use it’s own XLR inputs (using a blanced TRS - XLR (I know that one is balanced)) and don’t hit 48v or Instrument…OR use my Behringer ADA8000 for only line level inputs.
I always use the gain because it seems that’s the only way to get a loud enough signal from either my AlphaJuno2 or AR.
Turn up the gain where though? I’m copying this from the internet, because it’s pretty good:
It is easy to look at a professionally-mastered waveform and see that it “fills” space nicely, with big, fat waveforms and full sound, then look at your own recordings and see thin, “weak” sounding audio. Keep in mind that recording engineers do not actually record at this loud, compressed level - this additional amplification is done after the recordings have been made, in an effort to present a finished product that sounds full, loud, and professional.
In actuality, the recordings are usually made at around the -24db to -12db level, nowhere near the 0db floor. This leaves plenty of headroom to mix and work in, without having to worry about pushing the mix to the point of clip. Once the mix sounds good, additional compression and gain are typically applied to the master channel, boosting everything to the desired level of volume. Of course, there is variance in the amount of amplification needed - you probably wouldn’t want to compress an audiobook track to the degree you would compress a track of electronic dance music.
Therefore, what you’ll want to do is verify the level of your recording. It is easy to get caught up in the numbers, but what is most important is that the recording sounds clean and detailed. Even if the recording is low, it can be amplified after-the-fact with your DAW software. Rather than turning up the gain on your interface right away, simply turn it up to a level where audio sounds clean, record, and boost from there. Cranking up the gain on the interface can amplify the noise floor, causing static and white-noise sounds that are obviously undesirable.
I will try to answer all the questions here…
[ol]
[li]Every XLR is balanced because it has 3 prongs - Hot, Cold and Shield. You can make it non balanced on teh other end though if you connect it to a TS cable (only 2 soldering points) but that should be used if you want to connect balanced to unbalanced…very rare case in my opinion.
[/li]
[li]About raising gain on a preamp. A mic preamp has only ONE function - going from microphone level to line level so that the signal can be loud enough to properly interface with other line level equipment (mixers, speakers audio interfaces…). There is no real reason to use a mic preamp with the RYTM. The RYTM is not a microphone
If you want to get extra coloration etc…then you first need to attenuate the RYTM using a DI.
Loss of quality between listening to the headphone out and the actual recording can be a product of many reasons…it’s hard to say. But the rule of thumb is - the shorter your signal path the better the signal. Check to see if you don’t have redundancy or to long of cable just for nothing…also your interface is ultimately the device that determines how well the sound is digitized…
If you do things right and use quality devices and cables there should be a noticeable difference in quality…
[/li]
[li]If your device is line level…using a preamp is not needed! BUT if you have a preamp that adds smooth coloration - use a DI first.
[/li]
[li]About the RME Babyface - if you are using it’s XLR inputs, you’re using the preamp… if you simply connect the AR line output to the RME’s Line input, there is not going to be ANY difference in volume considering that you’re listening at Unity gain![/li]
[/ol]
oooooKKKKKKK back to the mixing drawing board. I’m turning up the gain on…the preamp? input?..so that I get -6db. It seems pretty clean anyway…but who knows…
I don’t know. It seems like a lot of dynamic effects to apply to get it loud enough. But then that’s why I’m not a professional…
I don’t know how this would work when recording the Master outputs without raising the gain…
But, anyway, I’ll need to try shit out.
Thank you very, very much for your massive help. (Sorry to jack the post).,
Man my head hurts. 
Ok so maybe I’"m confusing myself and everybody else. I’m really sorry about this…
On the Babyface there is NO line level input; just it’s XLR connect on the breakout cable (think Apogee Duet). If I don’t hit the 48v or Instrument it’s Line Level. On my ADAT, there is both an XLR (dubbed MIC IN) and Line In.
Basically my question is that if I use gain on the Line Ins am I in effect using the preamp? Should I stop using gain on Line Ins as gain is used for instrument or mics? The idea being I boost things in the mix…
In summary, it could be that it sounds low – but it’s actually at a desirable recording level.
Also, when I make music I always put a limiter on my master channel. Maybe you’re already doing this. People will tell you its wrong. Whatever…
Ha. Fair enough. I’ll see what’s up with recording edit: with gain at 0. Thanks again man.
The Babyface’s XLR’s are balanced inputs that can be used a Mic or Line via the RME software. I realized it after looking at it again…
It’s a very basic Mic/Line design.
Every pro mixing desk has a switch on a channel strip that configures the balanced inputs to be either mic or line depending on what you hook into it.
If you set it to line, it bypasses the mic preamp.
With the babyface you set it in software.
If you want to hook up your AR to the babyface - do it via a TRS to XLR cable and use line level setting within the RME software.
Gain is for microphones. No need for the AR. The AR has plenty of gain when volume is at max - and by the way…the volume should be set to max when recording it to digital.
Hope this helps.
Eitan