Regardless of the cables used (balanced or unbalanced), connecting a balanced output from my RME UFX+ to the unbalanced external input jacks of my Rytm begets hum.
Running the RME’s outputs through my Ebtech LLS-8 (to unbalance) kills the hum, BUT begets transformer saturation at the level of gain I need out of the RME. (The “High Gain” switch needs to be enabled.)
Here's an excerpt on the level distinctions from the manual.
The only options I see are to look for balanced/ unbalanced converters that can handle a higher signal level (I don’t currently know of any) OR find something for boosting the converted signal out of the LLS-8.
Perhaps a shitty and unorthodox idea, but have you tried running the headphone out from the RME into the analog four? Those should at least be unbalanced
I’m kind of in the mindset of if the signal clips, turn it down. I generally don’t run anything in my studio at full line level
One thing I did notice recently is the Rytm makes a lot of noise if Sym is not at 0, I spent ages trying to find source of noise while using ext in and turns out Sym and Dist were up a tiny bit
I’m actually running the spare headphone output into the Iridium via an insert cable, but that’s a fair idea. Hmm.
That’s the setting that gives me a signal level comparable to the internal tracks of Rytm. The +4 dBu switch would require me to drop internal voices more than I’d be comfortable with.
Matthias Carstens from RME actually just sent an email saying that it sounds like ground loop is the issue, and that while the LLS-8 is the right idea for the solution, there’s limitations in what it can handle as it’s passive, so the fix would be to purchase an active version, etc. So that’s what I’m currently researching.
Agreed, yeah. It can be pretty gnarly which I love, but it’s not exactly a tonal hum, which this is, etc.
I think most of all, I’m just wary that that would lead to a loss of dynamic range, as Rytm has a noise floor that’s not moving as you drop internal voices, etc.
I see. It s hard to advise on AR track levels with the numerous parameters that influence gain staging. I don’t really have a track level baseline. Really depends on how i ve dialed in the track sound. Often it will be well below 60.
My apologies for the over-simplified answer. — I should’ve just said that it would require a pretty big adjustment that I’d rather not make if at all possible.
I also have my source levels close to 60 for most tracks (unless it’s a quiet sample chunk from a dynamic loop).
My unbalanced ext in is fed from a mixer aux between -3/-0dbvu (where 0=18.5dbfs) from balanced outputs with balanced cables. Rytm outputs hit the mixer at the same volume if I push the aux send +6db (still 12dbish away from clipping) OR if the compressor make up gain is set at 24.
I get noise showing above -60dbvu if Dist/Sym is not at 0, if I’m not using noise gates on the mixer it shows up around -80/-90dbfs in my DAW
It’s likely possible to hit distortion circuit with a loud enough signal because it can’t be bypassed
^ selecting the +4 dBu switch would only provide a max of 13. High gain provides a max of 19, etc. (not that I’m necessarily looking for 19, but being stuck to a max of 13 is too low, imho)
Right yeah, I understand that aspect, but the main issue is that the passive transformers saturate, regardless of the direction you’re going. (Ie. I could feed it with lower gain out of the RME on one end, but it would saturate before I got to the level I need out of the other, etc)
I’m looking for a max signal level supported by the ART, but I’m not seeing anything. I’d be all for that solution, if I knew that it would be able to take the level of gain I’m needing out of the RME.
Tbh, it sounds like the custom cabling is probably the way to go for this, but as I’ve got 24 days before a fairly big gig, custom cables feels a bit nervy.
EDIT:
For the time being, I’d intended to use the RME as my mixer.
Ideally the RME would be connected to a computer, but as it is operable in stand-alone, I could see forgoing that and accessing MIDI via DIN, if need be.
The vision has been to have a mixer rack case (10U + 4U front-facing/ 4U rear-facing) with the two Analog MKII’s racked up top, the UFX+ front-facing alongside Tip Top Audio’s Happy ending kit, with power conditioner and the LLS-8 on the rear.
My current intended use-case wouldn’t be possible with a standard mixer. The main reason I grabbed the RME was the ability to sub-mix per output + with MIDI control over everything including snapshot recollection.
Negative, the MKII’s have unbalanced input jacks. All outputs are balanced tho.
RE: the rest/ nightmare — I’m gathering as much, but I feel inclined to pursue, as I very much believe the result will be worth it, once executed properly.
Something to note is that each set of rails on the case I have in mind will be separated by polyethylene, so I anticipate the potential common chassis connection issue would be between the elektrons, between the RME and euro, and between those on the rear facing rack, etc.
Just checked this, and I’m curious to know if it’d be chill to use the XLR connections in the rear, with TRS to XLR from the RME with XLR to TS (or TRS as it’ll have been isolated) to run to the Elektrons. Reason I ask is I’d like to keep cabling inside the case, etc.
Keeping the ring ‘floating’ is only needed for old gear with transformers in the output circuit.
Modern gear prefers to be ‘shorted’, just like the RME interface.
To unbalance the balanced TRS output, just insert a TS jack into it.
edit: I also have 3 ART DTI’s to keep gear like Waldorf Blofeld from humming.
They’re fine, the only downside would be a bit less definition in the low-end.
That ART T8 is just the 8 channel version.
— I should’ve just said that it would require a pretty big adjustment that I’d rather not make if at all possible.
