Trs unbalanced vs xlr balanced cables for recording direct.

I run a commercial recording studio in Sydney and please, do NOT run your Axe through the mBox for any reason. You would be taking a top of the line piece of audio gear that would be acceptable at *any* major studio in the world, and running it through a middle of the road piece of consumer-level gear.

The DACs/ADCs in the mBox are very mediocre compared to those in the Fractal, so there is ZERO reason to convert to analog and then reconvert to digital (which would happen if you used TRS or XLR outs).

Go direct via USB, or you absolutely must use the mBox, then do it using S/PDIF (the digital in/outs - see the wiki: Connecting the Axe-Fx II: digital audio - Axe-Fx II Wiki).
 
Manning said:
I run a commercial recording studio in Sydney and please, do NOT run your Axe through the mBox for any reason. You would be taking a top of the line piece of audio gear that would be acceptable at *any* major studio in the world, and running it through a middle of the road piece of consumer-level gear.

The DACs/ADCs in the mBox are very mediocre compared to those in the Fractal, so there is ZERO reason to convert to analog and then reconvert to digital (which would happen if you used TRS or XLR outs).

Go direct via USB, or you absolutely must use the mBox, then do it using S/PDIF (the digital in/outs - see the wiki: Connecting the Axe-Fx II: digital audio - Axe-Fx II Wiki).
Click to expand...

Thats what i want to do. So even if i use my axe fx as the interface, it wont matter that i can only record in 48k/24 bit will it? Cuz i heard people say that the 48 doesnt matter, its the 24 that matters, and since the axe is in 24 bit it shouldnt affect the sound.
 
rockguitarist1255 said:
Thats what i want to do. So even if i use my axe fx as the interface, it wont matter that i can only record in 48k/24 bit will it? Cuz i heard people say that the 48 doesnt matter, its the 24 that matters, and since the axe is in 24 bit it shouldnt affect the sound.
Click to expand...

You're absolutely right about the 24bit.

As far as 48K, 96K, 192K, a lot of people (like myself) are not entirely convinced about the value of the higher resolutions. For your information, Coldplay just recorded their latest album entirely at 48K.
Rik Simpson on Producing Coldplay's Mylo Xyloto - Blog - Universal Audio
 
Terry,

In the OP, he wanted to keep his sessions at 24bits 96K.

So S/PDIF or USB is probably not an option (although later he goes on to say 24-48K would be possible but not desirable).

Richard
 
barhrecords said:
In the OP, he wanted to keep his sessions at 24bits 96K.
Click to expand...
Agreed. . . analog is the only option for that configuration. The OP also seemed to be have some general digital vs. analog and "how do I set levels" type questions, so I was just trying to fill in that gap.

Terry.
 
I did say that in my post i did want to do 96k, but seeing as i would have to use the analog outs and deal with the cords and the gain and stuff, it would just seem simpler to me if i use the usb recording. I just like how easy it is to do. And recording at 48k isnt much of a big deal anymore as it is still 24 bit. And as for the vocals, i would just switch the axe fx from the interface and use my mbox and connect my xlr to my mic, since the mbox can do 48k also. I do appreciate your guys help though.
 
I'm glad you sorted through all of this rockguitarist1255.

BTW, the sample rate (96K, 48K, 44K, etc.) refers to how many audio samples are captured each second to convert sound from analog to digital. The 24 bit spec refers to how much resolution each of those samples are captured with.

Terry.
 
Tone Seeker said:
I'm glad you sorted through all of this rockguitarist1255.

BTW, the sample rate (96K, 48K, 44K, etc.) refers to how many audio samples are captured each second to convert sound from analog to digital. The 24 bit spec refers to how much resolution each of those samples are captured with.

Terry.
Click to expand...

Thank you. But yeah usb is what im going to do. I wanted 96k, but since the other person said that Coldplay recorded their latest album at 48k, that seems good enough for me since the pros use it. And i just like keeping things easy when recording.
 
Seconded. I just run SPDIF out and get no coloration from using mic pre's or having to run unbalanced (on a 002R and an RME Babyface). You have to record at 48k, however, which is not a huge deal but can be mildly annoying if all of your sessions (like mine) are in 44.1. Just gotta make a new one...

I should say that what would you rather want? A 96k recording of your OK Mbox 3 pre's, or a pure digital recording of your Axe at 48? Plus you'll save on hard drive space!
 
Last edited:
I use 24bits 48K for all my pro tools sessions.

But I would say the sampling rate you choose depends on your whole system.

In my case I word clock sync all my digital devices and I use the Waves IR Dither plug to make stereo 16bit 44.1K files from my sessions.

Depending on the hardware and whether or not you have good software to convert back to 16bits 44.1K, you might be better off recording everything at 44.1K from the get go. Really depends on your DAW, plugs, interface and other outboard gear.

You can bet that Coldplay record was recorded with a monstrous analog board, Pro Tools HD system loaded to the gills, high-end convertors etc. etc.

Richard
 
barhrecords said:
You can bet that Coldplay record was recorded with a monstrous analog board, Pro Tools HD system loaded to the gills, high-end convertors etc. etc.
Click to expand...

Undoubtedly. But it confirms the point that the overall quality of the devices in the audio chain is a bazillion times more important than the sampling rate. Hence a Fractal at 48K is going to sound way better than a mBox at 96K. I've heard Pro Tools sessions where they use 192K recording, but run some lame-arsed pre-amp and a middle-of-the-road mic. They then wonder why the sound is dull and lifeless - it's because all they got was an ultra-high resolution recording of their mediocre audio chain.
 
I know this thread is geared for the AF2, but a relevant topic for me in terms the best way to record with my Ultra (sorry for slight deviation to Ultra) I don't have USB option obviously. I have heard with the Ultra, that Cliff suggested using the OUT 1 instead of SPDIF. I have the Presonus Firepod (24 bit/96k firewire) interface. I know the mic pres are not high end. My Firepod does have SPDIF...wonder if that would be better? quick thought about that? otherwise it seems I am going from digital(Ultra)-firepod XLR or TRS(Analog)-then back to digital via the AD conversion. That seems inefficient. I've never used SPDIF so don't know how it's better.

edit: i did quick search on forum, as I'm sure there have been plenty of discussion on this already so forgive me, seems a lot favored using analog outs for various reasons...but if you have a brief comment either way...still interested.
 
Last edited:
Manning said:
Undoubtedly. But it confirms the point that the overall quality of the devices in the audio chain is a bazillion times more important than the sampling rate. Hence a Fractal at 48K is going to sound way better than a mBox at 96K. I've heard Pro Tools sessions where they use 192K recording, but run some lame-arsed pre-amp and a middle-of-the-road mic. They then wonder why the sound is dull and lifeless - it's because all they got was an ultra-high resolution recording of their mediocre audio chain.
Click to expand...

yes!

In fact, if I were the OP, I would use the Axe Fx for all tracking and monitor only with the mbox. In his setup, that would get the best tracks.

Richard
 
Chewie5150 said:
I know this thread is geared for the AF2, but a relevant topic for me in terms the best way to record with my Ultra (sorry for slight deviation to Ultra) I don't have USB option obviously. I have heard with the Ultra, that Cliff suggested using the OUT 1 instead of SPDIF. I have the Presonus Firepod (24 bit/96k firewire) interface. I know the mic pres are not high end. My Firepod does have SPDIF...wonder if that would be better? quick thought about that? otherwise it seems I am going from digital(Ultra)-firepod XLR or TRS(Analog)-then back to digital via the AD conversion. That seems inefficient. I've never used SPDIF so don't know how it's better.

edit: i did quick search on forum, as I'm sure there have been plenty of discussion on this already so forgive me, seems a lot favored using analog outs for various reasons...but if you have a brief comment either way...still interested.
Click to expand...

That is a hard call for me without critical listening to the results.

Digital to digital on paper seems like the best solution, but you are still using two different devices and there things like clock jitter that come into play that can have an audible effect on the sound.

I would do some test tracks S/PDIF out and analog out, then listen really carefully. For me, reverb tails are the easiest to hear clock jitter problems. I can hear hash when the reverb tails trail off when I'm not syncing my clocks in my system. (Note the Axe's don't support word clock in sync. I am referring to my pro tools system.)

Richard
 
barhrecords said:
yes!

In fact, if I were the OP, I would use the Axe Fx for all tracking and monitor only with the mbox. In his setup, that would get the best tracks.

Richard
Click to expand...

I would like to use the axe fx for all guitar tracks, as i use addictive drums for my drum tracks. But pro tools will only let me use the axe fx or mbox as one interface as you could imagine. The only annoying thing is that when i use my axe fx as the interface like i am right now, i get latency on my keyboard even though it is plugged in with usb. Its not very noticeable but still kind of annoying to have. Any ideas on how to fix that? And the only thing i have to use my mbox for as of this moment is recording vocals, other than that everything else i do is digital.
 
You must log in or register to reply here.
Back
Top Bottom