Proper design of signal flow in an audio system dictates that low impedance outputs (mics) feed high impedance inputs (mixers). In any event, you'll most likely need to split your mic signals and feed more than one mixing console. That mix will be at its best if the person providing it is isolated from the confusion of hearing the live sound. Or you may be called upon to provide a separate mix for recording or broadcasting your performances. Although it's possible to provide a separate monitor mix from the main console, a person located nearer to the performance area can hear what the performers hear, see their cues more easily and just generally be able to provide a better monitor mix. In this article we just might add some additional terms to your audio vocabulary as we discuss microphone splitters.Īs your sound system expands, it will eventually be necessary to provide additional mixes from locations other than the main mix position. have become part of the sound team's vocabulary as they strive to provide today's expected level of sound quality and production - for both the listeners and the performers. Words like "direct box", "balanced", "low impedance", "crossover", etc. Many have replaced that powered mixer with separate components and added a snake to allow for a mix position in the listening area. It’s useful if you want to add bumper music or other prerecorded audio to a podcast in real time rather than editing it later, for example, or if you want to bring in audio from a Zoom or Skype call.If your band, school or church's sound system has evolved along a familiar path, what started out as a pretty simple, small group, "sound-on-a-stick" has gradually become more and more sophisticated. Loopback recording: This feature allows you to mix in audio from other apps running on a computer with the audio being recorded.We didn’t consider these to be freebies in our evaluations because you may already have software you like using, and the appeal of the free software depends on what kinds of music or other content you’re producing. Included software: All of the audio interfaces we tried include some type of digital audio workstation (DAW) software, as well as various plug-ins (software that produces sound effects or instrument sounds).However, such instruments are increasingly rare, and you can always buy a USB-to-MIDI adapter if the need arises. MIDI connectors: If you use an older keyboard, sampler, or drum machine that doesn’t have a USB connection, you’ll probably want a USB audio interface that has five-pin MIDI connections. If you’re planning to use your audio interface only with a computer in your home studio, this feature is less important. Using a USB audio interface with an iPad, other than those equipped with a USB-C jack, requires the purchase of an extra adapter. But iPads have become a popular tool to capture performances and recordings, so we considered iOS support to be a valuable feature. iOS support: All audio interfaces should support both macOS and Windows, as long as you download and install the appropriate driver.Research shows that the benefits of higher-resolution audio recording (such as 24-bit/192 kHz) are “small and difficult to detect.” You can read more in our article about audio resolution. High-resolution recording: Most USB audio interfaces available today are capable of recording at 24-bit depth with a 96 kHz sampling rate or higher, so we considered that a minimum requirement for our music-oriented picks.It’s important for you to be able to see and read the meters easily. Setting it too low can produce excessive noise and make a recording more difficult to mix. If the level is too high, distortion (often called “clipping”) will result. These meters are critical for setting gain, or record level.
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