各位先進大家好,小弟又來了 目前使用的設備是PreSonus Eureka+RME Fireface 400, 想請問當Eureka的Line out接到Fireface上的Mic/Line(an1)上時 是否還需調整設定(但找不到mic與line的切換方式) Fireface是會自動判別切換嗎?有參考過fireface的使用手冊, 對於前面板的輸入沒有提到切換的方式所以感到疑惑 另外想請教各位先進對於Gain的調整是否有粗略的建議 謝謝!! 說明如下: TRS Line Rear (Inputs 5-8) The Fireface has balanced line inputs as 1/4" TRS jacks on the back of the unit. The electronic input stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly, automatically adjusting the level reference. When using unbalanced cables with TRS jacks: be sure to connect the 'ring' contact of the TRS jack to ground. Otherwise noise may occur, caused by the unconnected negative input of the balanced input. One of the main issues when working with an AD-converter is to maintain the full dynamic range within the best operating level. Therefore the Fireface 400 internally uses hi-quality electronic switches, which allow for a perfect adaptation of all rear inputs to the three most often used studio levels. The 'standardized' studio levels do not result in a (often desired) full scale level, but take some additional digital headroom into consideration. The amount of headroom is different in different standards, and again differently implemented by different manufacturers. Because of this we decided to define the levels of the Fireface in the most compatible way. Reference 0 dBFS @ Headroom Lo Gain +19 dBu 15 dB +4 dBu +13 dBu 9 dB -10 dBV +2 dBV 12 dB With +4 dBu selected, the according headroom meets the latest EBU recommendations for Broadcast usage. At -10 dBV a headroom of 12 dB is common practice, each mixing desk operating at -10 dBV is able to send and receive much higher levels. Lo Gain is best suited for professional users who prefer to work balanced and at highest levels. Lo Gain provides 15 dB headroom at +4 dBu nominal level. Neutrik Combo - Microphone / Line Front (Inputs 1-2) The balanced microphone inputs of the Fireface 400 offer an adjustable gain of 10 dB up to 65 dB. The soft switching, hi-current Phantom power (48 Volt) provides a professional handling of condensor mics. The usage of a hi-end integrated circuit (PGA 2500) guarantees outstanding sound quality, stunning low THD, and maximum Signal to Noise ratio in any gain setting. The two combo jacks also allow for the usage of mono and stereo TRS jacks. These jacks usually carry line level signals. To adress this correctly, the input gain can be lowered to 0 dB. The inputs are still operating servo-balanced, but can now handle levels up to +10 dBu. Overall the inputs 1/2 can work with levels from –55 dBu up to +10 dBu. Two LEDs display a present signal (from –65 dBFS on) and warn against overload (-2 dBFS). TRS Instrument / Line Front (Inputs 3-4) The instrument inputs 3/4 of the Fireface 400 are exceptionally flexible. Several gain and impedance options make them the ideal receivers for both line and instrument signals. Line Inputs 3/4 have balanced line inputs as 1/4" TRS jacks. The electronic input stage is built in a servo balanced design which handles unbalanced (mono jacks) and balanced (stereo jacks) correctly, automatically adjusting the level reference. When using unbalanced cables with TRS jacks: be sure to connect the 'ring' contact of the TRS jack to ground. Otherwise noise may occur, caused by the unconnected negative input of the balanced input. Inputs 3/4 operate in perfect harmony with the rear inputs 5 to 8, as they use the same level references: Reference 0 dBFS @ Setting 3/4 Lo Gain +19 dBu Pad +4 dBu +13 dBu No Pad -10 dBV +2 dBV Inst ------- +8 dBu Inst + Pad Instrument The main difference between a line- and instrument input is the input's impedance. Via the option Inst 3 and Inst 4 in the Settings dialog, the input impedance changes from 10 kOhm to 470 kOhm. At the same time the input sensitivity rises to –10 dBV. Using active instruments this setting can already cause overloads. Therefore the option Pad is still available, reducing the sensitivity by 6 dB. The instrument input operates servo-balanced, thus handles balanced signals correctly as well. Input Gain Via Input Gain in the Settings dialog, or using the rotary encoder on the front, an additional gain can be applied to the input signals of channels 3/4. The gain range is 0 dB up to 18 dB, in steps of 0.5 dB. This option not only allows to use sources with low level output signals, but for example also to adjust the balance between channel 3 and 4 precisely, already before the recording takes place. Overall the inputs 3/4 can work with levels from –16 dBu up to +19 dBu. Two LEDs display a present signal (from –65 dBFS on) and warn against overload (-2 dBFS).
https://www.gearslutz.com/board/low-end-theory/106315-help-connecting-mic-preamp-fireface.html 依照這個討論串的內容來看 我想我大概需要把XLR>XLR線改成XLR>TRS
透過Preamp XLR>FF400 AN1/2 XLR接的話Gain轉不到20%以上底燥就很明顯,也很容易CLIP(應該就是Cake大說的二次放大了) 似乎只有AN3/4(僅有TRS孔) 才有切換成 instrument 選項 所以嘗試了以Preamp XLR>FF400 AN3/4 TRS 連接 不開啟instrument的話聲音輸入會很小，感覺也比較悶 開啟instrument的話大概就會有種,啊 就是這樣沒錯的感覺 Preamp上的Gain大概就可以調到50~60%以上底燥聲仍然很小 人聲清楚 目前還在測試合適的調整值 instrument不是樂器輸入嗎，為什麼我用instrument反而感覺比Line in聽起來順耳很多...求解
這個接法怪怪的吧...Line Level怎麼會去接Intrument Level? http://www.thegearpage.net/board/in...vel-vs-line-level-vs-instrument-level.632772/ RME的Mic Pre只要保持在0dB的話就是中性且等同於Line Level，它們老闆是這麼說的。 https://www.forum.rme-audio.de/viewtopic.php?id=11653 https://www.forum.rme-audio.de/viewtopic.php?id=11525 我不曉得FF400有沒有-11dB PAD可以選，如果有、且預設開啟，那或許會跟音量太小有點關係。