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Post by kcatthedog on Jul 17, 2021 14:42:40 GMT -6
Dangerous convert when you already have a lynx? The DA on the lynx is supposed to be superb, what would the dangerous convert offer you? Also, how much is the 8 channel I/o card? Are you able to upgrade 16 to 32 analog? I’m saving for a 32n but if 16 has the capability to go to 32 in analog I/o I may start there. Yes, but that would be to regain DA to have a full 16 DA for the SumBus. I think it’d be cheaper to go another 8 analog I/O card. They are around 1100. I wish they would make a main out card. A couple pairs of DA’s and some digital I/O. The AES card is 16 channels. I don’t need 16 AES channels. A pair would be good. Ya, ala Apogee 2x6se ! |
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Post by indiehouse on Jul 17, 2021 16:56:51 GMT -6
Yes, but that would be to regain DA to have a full 16 DA for the SumBus. I think it’d be cheaper to go another 8 analog I/O card. They are around 1100. I wish they would make a main out card. A couple pairs of DA’s and some digital I/O. The AES card is 16 channels. I don’t need 16 AES channels. A pair would be good. Well dangerous convert is 2700$. So it’d be almost 3x cheaper. And you get more I/o, I’d definitely go that route if I were you. Seeing as the Lynx is modular I may go for 16 instead of 32 starting out... Technically, in my situation, I paid 1700 for the Convert. But still, $$. |
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Post by indiehouse on Jul 17, 2021 16:57:22 GMT -6
Yes, it doesn’t have dedicated outs like Apollo. Although , personally, I think the headphone outs sound great !  The headphones outs are killer! |
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Post by indiehouse on Jul 17, 2021 16:58:42 GMT -6
Yes, but that would be to regain DA to have a full 16 DA for the SumBus. I think it’d be cheaper to go another 8 analog I/O card. They are around 1100. I wish they would make a main out card. A couple pairs of DA’s and some digital I/O. The AES card is 16 channels. I don’t need 16 AES channels. A pair would be good. Ya, ala Apogee 2x6se ! Exactly! That would be perfect. Might as well bump up the specs and make them mastering grade for as much as they would charge. |
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Post by kcatthedog on Jul 17, 2021 17:04:56 GMT -6
Well theoretically, they just need to drop a Lynx card in ?
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Post by OtisGreying on Aug 2, 2021 18:20:48 GMT -6
Just sold my X8. Time to go Lynx (and never think about conversion or DA again, hallelujah!).
Wondering if ill notice ANY difference in the AD versus apollo as well.
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Post by kcatthedog on Aug 3, 2021 5:27:13 GMT -6
Well, yes, but you have to monitor through the DA:)
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Post by nick8801 on Aug 3, 2021 6:01:40 GMT -6
Just sold my X8. Time to go Lynx (and never think about conversion or DA again, hallelujah!). Wondering if ill notice ANY difference in the AD versus apollo as well. I think you will. The workflow is different and takes some getting used to, but for me, the slight sonic improvement in AD and the huge improvement in DA are well worth it! |
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Post by OtisGreying on Aug 3, 2021 13:21:10 GMT -6
Well, yes, but you have to monitor through the DA:) That’s the plan. I think I’m getting a 24 channel. I also need a DI, passive monitor controller and possibly another UAD octo to make up for the missing DSP from the X8. |
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Post by kcatthedog on Aug 3, 2021 14:20:51 GMT -6
Used octos come up at UA forum often.
I think the Lynx 4 channel pre module includes di, maybe check , if you want some onboard pres too?
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Post by indiehouse on Aug 3, 2021 15:56:58 GMT -6
Well, yes, but you have to monitor through the DA:) That’s the plan. I think I’m getting a 24 channel. I also need a DI, passive monitor controller and possibly another UAD octo to make up for the missing DSP from the X8. I just picked up a used Coleman monitor controller for a few hundred. External DI’s can be cheap enough. Or pick up something vibey like a Zod. |
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Post by OtisGreying on Aug 4, 2021 16:28:34 GMT -6
That’s the plan. I think I’m getting a 24 channel. I also need a DI, passive monitor controller and possibly another UAD octo to make up for the missing DSP from the X8. I just picked up a used Coleman monitor controller for a few hundred. External DI’s can be cheap enough. Or pick up something vibey like a Zod. The Coleman is active no? So wouldn’t it flavor the sound? I’m sure if it’s a quality piece the flavor wouldn’t be negative. But I guess I was thinking a passive controller and hearing the Lynx DA untouched. Maybe I don’t understand the way the monitor controllers work that well. I know the dangerous monitor controller basically becomes your DA to some degree I thought. |
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Post by the other mark williams on Aug 4, 2021 16:32:53 GMT -6
I just picked up a used Coleman monitor controller for a few hundred. External DI’s can be cheap enough. Or pick up something vibey like a Zod. The Coleman is active no? So wouldn’t it flavor the sound? I’m sure if it’s a quality piece the flavor wouldn’t be negative. But I guess I was thinking a passive controller and hearing the Lynx DA untouched. Maybe I don’t understand the way the monitor controllers work that well. I know the dangerous monitor controller basically becomes your DA to some degree I thought. I'm pretty sure most (if not all) of the Coleman pieces are passive, but I haven't looked in a little while, so I could be wrong. I have a little Coleman LS-3 that can switch either sources (3:1) or destinations (1:3) that's fully passive. |
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Post by kcatthedog on Aug 4, 2021 16:33:58 GMT -6
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Post by indiehouse on Aug 4, 2021 17:50:36 GMT -6
I just picked up a used Coleman monitor controller for a few hundred. External DI’s can be cheap enough. Or pick up something vibey like a Zod. The Coleman is active no? So wouldn’t it flavor the sound? I’m sure if it’s a quality piece the flavor wouldn’t be negative. But I guess I was thinking a passive controller and hearing the Lynx DA untouched. Maybe I don’t understand the way the monitor controllers work that well. I know the dangerous monitor controller basically becomes your DA to some degree I thought. Passive. Supposed to be transparent. |
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Post by OtisGreying on Aug 4, 2021 19:56:28 GMT -6
I’m wondering if I can use my Apollo twin as a monitor controller without it coloring and the sound of the DA. I know at the very least I could use the DI from it.
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Post by OtisGreying on Aug 4, 2021 19:59:03 GMT -6
The Coleman is active no? So wouldn’t it flavor the sound? I’m sure if it’s a quality piece the flavor wouldn’t be negative. But I guess I was thinking a passive controller and hearing the Lynx DA untouched. Maybe I don’t understand the way the monitor controllers work that well. I know the dangerous monitor controller basically becomes your DA to some degree I thought. Passive. Supposed to be transparent. Got it. I was looking at the Coleman M3PH which seems to be active. Which model you have indiehouse? |
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Post by indiehouse on Aug 4, 2021 21:35:55 GMT -6
Passive. Supposed to be transparent. Got it. I was looking at the Coleman M3PH which seems to be active. Which model you have indiehouse? I found an older M3. Does what I need. What makes you think the M3PH is active? |
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Post by OtisGreying on Aug 4, 2021 22:23:34 GMT -6
Got it. I was looking at the Coleman M3PH which seems to be active. Which model you have indiehouse? I found an older M3. Does what I need. What makes you think the M3PH is active? I don't know I remember reading it on sweetwater but it mustve been a different unit. Now that I check it says passive. My eyes are deceiving me |
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Post by Deleted on Aug 5, 2021 0:23:02 GMT -6
Also, headroom is 20DBFS. I’ve read some complaints that this isn’t ideal for driving HW. Not sure. The headroom/MOL is my only sticking point with the Lynx stuff, which seem excellent otherwise. We would have no problem if the headroom was -20dBFS. The headroom is actually + 20dBu, which makes the digital headroom -16dBFS. In an industry where the standards are between -18dBFS and -20dBFS (record biz vs post), I don't get this design choice at all. It's not ideal for tape transfers, though you could align your playback cards -2VU or -4VU to prevent clipping your drum tracks on input. If you like hardware inserts, or are interfacing through a desk, you're not getting the most out of your analog stuff. It's the same deal if the converter on input can't match, or come close to the MOL of your preamps. Most analog outboard is gonna pass +24dBu before clipping and the outputs of some pres exceed even this. Some material is fine with limited headroom, but I want that to be my choice. Bring back tweak pots. |
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Post by OtisGreying on Aug 5, 2021 0:43:23 GMT -6
Also, headroom is 20DBFS. I’ve read some complaints that this isn’t ideal for driving HW. Not sure. The headroom/MOL is my only sticking point with the Lynx stuff, which seem excellent otherwise. We would have no problem if the headroom was -20dBFS. The headroom is actually + 20dBu, which makes the digital headroom -16dBFS. In an industry where the standards are between -18dBFS and -20dBFS (record biz vs post), I don't get this design choice at all. It's not ideal for tape transfers, though you could align your playback cards -2VU or -4VU to prevent clipping your drum tracks on input. If you like hardware inserts, or are interfacing through a desk, you're not getting the most out of your analog stuff. It's the same deal if the converter on input can't match, or come close to the MOL of your preamps. Most analog outboard is gonna pass +24dBu before clipping and the outputs of some pres exceed even this. Some material is fine with limited headroom, but I want that to be my choice. Bring back tweak pots. Well, shit. The last two hours I've been going down a headroom reading rabbit hole just coincidentally to find the converter I ordered 10 hours ago has low headroom. Does this headroom limitation matter if you don't record very loud sources? I record mostly vocals, guitars, and my hardware synth. But songs get very busy with dense production and 100+ tracks often. |
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Post by the other mark williams on Aug 5, 2021 0:47:37 GMT -6
The headroom/MOL is my only sticking point with the Lynx stuff, which seem excellent otherwise. We would have no problem if the headroom was -20dBFS. The headroom is actually + 20dBu, which makes the digital headroom -16dBFS. In an industry where the standards are between -18dBFS and -20dBFS (record biz vs post), I don't get this design choice at all. It's not ideal for tape transfers, though you could align your playback cards -2VU or -4VU to prevent clipping your drum tracks on input. If you like hardware inserts, or are interfacing through a desk, you're not getting the most out of your analog stuff. It's the same deal if the converter on input can't match, or come close to the MOL of your preamps. Most analog outboard is gonna pass +24dBu before clipping and the outputs of some pres exceed even this. Some material is fine with limited headroom, but I want that to be my choice. Bring back tweak pots. Well, shit. The last two hours I've been going down a headroom reading rabbit hole just coincidentally to find the converter I ordered 10 hours ago has low headroom. Does anyone have any advice how to operate tracking to sound best on the Lynx. I'm coming from an Apollo x8. Recording vocals or acoustic guitar with a preamp my waveforms are usually small. Does this headroom limitation matter if you don't record very loud sources? I mostly vocals, guitars, and my hardware synth. But songs get very busy with dense production and 100+ tracks often. You’re going to be just fine, bro. |
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Post by OtisGreying on Aug 5, 2021 1:02:44 GMT -6
Well, shit. The last two hours I've been going down a headroom reading rabbit hole just coincidentally to find the converter I ordered 10 hours ago has low headroom. Does anyone have any advice how to operate tracking to sound best on the Lynx. I'm coming from an Apollo x8. Recording vocals or acoustic guitar with a preamp my waveforms are usually small. Does this headroom limitation matter if you don't record very loud sources? I mostly vocals, guitars, and my hardware synth. But songs get very busy with dense production and 100+ tracks often. You’re going to be just fine, bro. Thanks, I know. But I'm curious how headroom in the Lynx's case may affect my recordings as opposed to the X8. I guess I just have to watch for clipping more? That's my hunch. I do use hardware inserts but often use a trim/gain plug-in built into the hardware insert in Ableton to gain stage, so I'm wondering to what degree I'll suffer from "not getting the most out of my analog stuff" in my situation and what the best practice is.
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Post by kcatthedog on Aug 5, 2021 1:11:55 GMT -6
No offence, I think you are worrying about nothing.
I haven’t noticed any low headroom in the converters or ever heard of that is an issue: ever.
Just plug the unit in and start using it.
To me, the sonic difference, N vs X was very apparent. I am very happy with the N, have never had an issue with digital clipping.
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Post by OtisGreying on Aug 5, 2021 1:14:05 GMT -6
Also, headroom is 20DBFS. I’ve read some complaints that this isn’t ideal for driving HW. Not sure. If you like hardware inserts, or are interfacing through a desk, you're not getting the most out of your analog stuff. It's the same deal if the converter on input can't match, or come close to the MOL of your preamps. Most analog outboard is gonna pass +24dBu before clipping and the outputs of some pres exceed even this. llstudio, can you elaborate on this, or explain in laymens terms ? I'm trying to understand. By hardware insert do you mean in the DAW hardware insert or having hardware in the initial recording chain? If in the DAW, I thought at this point the headroom is in the hands of the DAW and no longer the converter, so why does the converter headroom matter in DAW land after recording? Sorry. |
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