Hope i’m in the right catagory here.
Synth outputs, as the title states.
We have headphone out’s and left(mono)/Right outputs on most synths, etc.
I have pretty much always used a stereo 1/4 jack from the headphone out, that then splits into two phono connectors, which then go into 1/4’ jack adapters and then into two channels of the desk, which are then panned left and right.
I’ve had no problems with this over the years but i was informed last night, that i should always use the left(mono)/ Right outputs and then take them to the desk and pan each input left/Right on the desk, as the headphone output and the left/right outputs have different circuitry.
Anyone care to offer their opinion on this?
Hope i’m in the right catagory here.
at some point the discussion is gonna lean on this topic linked below
so here’s some background reading - I’m gonna read this myself at some point, but first I’ll take the liberty of changing the title to make the heart of the topic more obvious
It’s your choice, but connecting the L & R line outputs of the synth to the line inputs of your mixer is the intended use case.
This also allows you to do without the adaptors, and to use headphones if you need to monitor the synth privately.
Thanks for the replies fella’s, i’ve also found this article on the subject.
Seems it’s not a big deal to use either the h/phone or the line out’s, no damage can be done but i thought it best to see if anyone much more knowledgeable than myself on this subject could come up with an answer.
The output specs of the different output types will vary somewhat from synth to synth and the response at the input will vary board to board. The two main differences between types will usually be level and impedance. Level tends to be easy to deal with, impedance can sometimes make a huge difference but not always. I recommend reading up on the subject, the first link posted in this thread will probably give you enough info to understand what’s going on and since it’s about music production it should be stripped down to applicable info rather than thorough electronic theory which you probably don’t need.
Thanks for the reply Blurrghost.
I ave read the article, plus a few others and whilst i don’t profess to be any where near an expert on impedence etc, my use of the headphone out on the CS1x, the Prophecy, plus both the Minilogue and more recently the MicroKorg, hasn’t given me any problems over the years, no humming or low output levels.
The Proteus 2000 rack unit has six TRS 1/4 jack outputs but i only use the main two outs to the desk.
As i’ve mentioned on another thread, i’ve realeased over 30 albums/singles for clients, mainly using the synths, occasionally guitars also and not had any problems but i will certainly take on board the replies and advice given on this subject, as i said above, i am no expert in this field but the subject arose last night when a friend did question why i was using the headphone outputs on the synths, so i though i would ask the question here, as that is what forums are for, knowledge is power.
If I’m not mistaken you can use the spare ‘outputs’ to ‘sum’ your other synths with the output of the Proteus. You could do that on the earlier ones and the Orbit. I Found it really handy in a pinch without a mixer being able to have 3 stereo sources on one output (and front panel headphone jack). You should be able to set the relative levels in the menu too.
Sure. If what you do works, it works. There isn’t anything wrong with doing it the way you do unless it causes you some kind of problem or you want different responses. I’ll sometimes mismatch impedance deliberately if I want things to work that way, and sometimes I don’t take it into consideration at all. As someone who builds electronics I like to play around with impedance with some devices.
I’d just keep doing what you’re doing since you’ve had lots of success and experience with it.
Thanks Bunker, never though about that but yes, it makes sense.
I have a 16 channel Mackie desk, so i’m pretty well covered for inputs, plus 4 subs so i can send outputs to wherever really.
Cheers for your reply blurrghost.
I must admit, when it comes to fully understanding impedances, i’m way out of my depth.
We all have our talents but i’m afraid electronics isn’t one of mine.
I’ve not been a member of this forum for long but i can see that i’m in the midst of some very clever people when it comes to electronics and synthesis, some of it i understand and quite a lot i don’t.
I class myself as fairly adequate at most things i do, i’m amazed i’ve managed to get as far as i have to be honest, i just do what feels right, it may not exactly be the right way (the output question to name but one) but i seem to get by.
I’m hoping to learn a lot more about both electronics and synthesis by being a member of this forum and i must say i’m very grateful for the help and advice i’ve received so far.
I have changed the outputs from the synths today, so everything is as it should be now.
You’ll be fine I’m sure. Electronics and synthesis can be deep subjects but you don’t need to know every detail to be able to enjoy your gear. On the synth front the more you read (or videos you watch) will help you immensely. You’ll see the same topics covered time and again and it’ll start to stick in no time.
As far as electronics goes I’d argue you don’t need to know much beyond basic fundamentals of voltage, current and resistance to get by. Don’t get me wrong it’s no bad thing to understand the operation of, say, an envelope generator from an electronics point of view but you can still learn to use it in a musical context without needing to know what’s going on inside. Even in the world of modular/semi modular you’ll be patching control voltages, gate and trigger signals on the whole. Again, once you start to compare and contrast features you’ll see how you’re working with a fairly basic palette of signals. At the end of the day you’re using those same signals in your little analogue mono, they’re just hidden behind knobs and switches.
You can always ask questions and from my experience people are usually happy to help.
I think @Bunker put it well. You don’t need to know anything about electronics beyond the most basic couple of things. Electronics is a hobby for me but I know a lot of folks who don’t know thing one about it and still make far better music than I do. Haha.
It sounds to me like you’re doing things “right” (if there even is such a thing) so keep up the good work. Stick with this forum and you’ll be able to learn pretty much anything you want. I haven’t been a member very long either and I’ve learned tons already.
I’m well up to speed with EG’s, LFO’s etc and how they interact with each other to get the sounds you have in your head.
I like to start off with just a sine wave and build it from there.
The Minilogue is a cracking beast and due to it’s hands-on editing, it doesn’t take long to get something you can work with, sound wise.
The Micro is a different kettle of fish editing wise, i’m still trying to work out how the two timbres work together, still struggling with that although i’ve only had it a week, so still checking out YouTube tutorials and obviously this forum for help and advice.
I’ve had the Proteus 2000 for 20 years and i’m still finding stuff in there when i use it, the damn thing is bottomless but what a brilliant piece of kit.
Thanks again guys for the reply’s.
I think if you have the gift for making music, it’s probably been there since a very early age.
The one thing i recret most of all, is stopping my piano lessons when i found out that girls were possibly more interesting in my early teens.
One of the girls that was in the same class as me has made something of herself, i last saw her about 12 years ago at a fesival where she was playing in an orchestra backing a famous artist up.
In the little time i had to chat with her, she’s gone on to be a well saught after session musician and working with rather famous bands and artists.
Just goes to show how your life can take different paths, depending what you decide to do.
I’m sure had i carried on with the lessons, i could have been making much better music amd possibly even earning a decent living from it.
I haven’t done too bad, i’m still getting royalties from work i did 15 or more years ago, that the beauty of the Welsh music industry, you get repeat royalties because your work gets played quite a bit and i’ve had a lot used on TV programmes, which is a decent income.
Like you say, just do what you do best and hope it all works out.
phone outputs are noticeable noisy when used for anything but phones.
btw, lack of proper line out is the main reason why i’ll never buy any Volca.
Yeah I hear you. I started out as a drummer as a kid and by the time I was 14/15 I was earning money playing with everyone from orchestras to cabaret acts! I hung my sticks up not long afterwards and started playing bass guitar. I often wonder what would have happened if I’d just concentrated on drumming? Guys I knew and played with back then have gone on to have careers as session musicians and others went a similar route but diversified into acting, stage management etc.
You’re right about that innate talent tho. To me as a child playing an instrument, whether it was drums, guitar or even woodwind it just seemed like second nature. I could practice for hours and could never understand why my pals played computer games. I couldn’t think of anything less interesting at the time! (And I still feel the same way😀)
Same here, was never interested in games, there never seemed to be a point to them, it just seemed to be a never ending loop of get to the end and then start all over again.
Never interested in card games either.
I think it’s peobably the way people are wired, if you are into music there’s always something at the end, a finished composition.