In practice if I set the Ensemble to the +4 reference I can clip the schmack out of the OT’s inputs, setting it to -10 indeed works excellent…
I’m not saying otherwise… that’s a “better safe than sorry” strategy, if that works for you it’s OK too. With 24bit audio and the low noise of modern devices it’s not much of an issue, you don’t need to cover the whole possible dynamic range to get decent S/N ratios
I believe I still get the full dynamic range as I can slightly clip OT’s inputs with my apogee set at -10. I’m pretty sure the digital summing/internals of the ensemble2 are working the same (which happens to pass 32bit packages from DAW to DAC without cpu converting to 24bit) and I’m not using digital attenuation but rather a hardware output calibration…
Sorry, way off topic now, geek talk…
Ok for the OT MK2 users… for the input LED lights… is it best to run them green, sometimes orange, are always orange - for sound quality. I am making dubby downtempo if that matters.
Thanks in advance.
I prefer using a 4-channel DJ mixer. Ecler Nuo 4.0, no frills, high quality. Robust, safe, transparent.
It‘s also very convenient to plug the FX send into the OT‘s input, sampling on the fly, good old Erase style.
Anybody else can join, you can always kill EQ bands, no surprises when changing scenes/parts etc. or shutting down a machine. The DJ mixer is so important, we even had it hidden under the table during a gig, and it brought some crazy bass content easily under control.
As close as possible to, but might include, “occasionnally red”. Always green = to low
You can monitor the recording visually in the audio editor in real time. It’s not like a VU meter but it helps. If the recording is to low, it’s totally obvious