On Sat, Aug 14, 2010 at 12:19:33AM -0700, Niels Mayer wrote:
> The big issue with having the full 144dB range is that the "business"
I've never seen a real fader that has any practical resolution
below -80 dB: the next tick, 5mm or so down, is 'Off'. And most
don't even go down that much.
> Since the goal of input monitoring is to record as much signal as
Right. For recording you'd better leave a margin of 15 dB or so.
Increasing the recorded level (assuming your software records 24
bit or floats) is not going to improve your S/N ratio at all -it
is determined by the preamp, not by the level on the 'tape'.
> Maybe this kind of metering and cue-routing doesn't exist on any of
I hope that nobody is going to use the soundcard's mixer to do a
real mixdown - not if you have software like Ardour. The purpose
of the soundcard's mixer is to provide monitoring while laying
tracks, and function performed on a real mixer by the AUX busses.
I never have seen a mixer that has solo on the AUX busses.
For this kind of monitoring and this card you have two options:
one stereo monitor, or two mono ones. For the first you'd want
panpots. For the second you'd want two separte gains.
The compromise is what I proposed: one gain control and just L
and R buttons instead of full panning. This works well in both
There are three of them, and Alleline.
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