Unit

2 Interconnection of audio equipment

Output

Mixer

XLR
Patching
Lead

Monitor Amp

Fire wire/
Thunder Bolt

Input


Output

2 way
digital
Connection

DAW

XLR

Line
Input

RCA

Outboard
Processors

USB or
Fire wire

Compressor

Soundcard
(A-D Converter)

8 Channel
ADAT

DI BOX

Digital Sync

XLR

Instrument
level
Jack

External

USB

MIDI
I/O
Midi In

Midi Out

Hard Drive

Midi

Controller


Left and right
Monitors


Basic explanations

Cables:
XLR The XLR cable is frequently used for its high resistance to damage and its
ability to transmit balanced audio this means that it can transmit audio over very
long distances without compromising the quality of the audio. XLRs transmit
line level.

Jack These Cables come in two forms, stereo and mono. The stereo jack can
transmit balanced audio just like an XLR cable while the mono version cannot.
The jack can also only transmit instrument level signals. This is much lower
than line level, which means that it has to be brought up to line level before being
able to connect to a mixing console. This is usually done with a DI box.

When using either of these cables, it is important to match the impedance. This
means making sure that the input you are plugging into can handle the load you
are about to transfer through it. For example, my 100 watt Engl head can send a
16 ohms load to a single cab. This means that my cab has to handle 100 watts of
power.

In the case of cables, low impedance means you can send a signal through it over
long distances whilst high impedances mean signal loss will occur at about 24
metres.

DAWs:
DAW stands for Digital Audio Workstation and is where almost all the
postproduction and audio editing takes place. Some common DAWs include
Logic, Pro Tools, Reason, Reaper. The huge shift from analog to digital is mainly
accredited to the introduction of Digital Audio Workstations. This is because they
allowed a much smoother and more refined way of editing audio.

For example no longer were noise gates a necessity since unwanted bits of audio
could simply be cut out in a non-destructive way. Analog tape on the other hand
needed someone to manually and physically cut out bits of tape that were not
needed.

Compressors stopped being such a necessity since DAWs introduced the
automation. Engineers could now draw in how the fader moves over time. DAWs
also introduced the ability to time stretch audio to play at different tempos.

DAWs didnt make outboard gear obsolete since outboard gear can sometimes
give audio very distinct characteristics. Many people use certain compressors
because of the unique sound it can give to audio for example I personally love the
la2a for the warmth it can give the drums and vocals.


Amp Simulation
Amp simulators are pieces of software or hardware that try to model real tube
amplifiers. This tends to be a hot topic of debate, as many people believe amp
Sims will never be good enough to match tube amplifiers.

Amp Sims are made by modelling each component of a guitar amp. This means
that when you send a guitar signal through each modelled component, you will
get the same tonal qualities as a real amplifier. Some common brands associated
with amp modelling are Fractal Audio, Line 6, Kemper, Positive Grid.

Amps Sims can be traced back pretty far with bands like Meshuggah and Fear
Factory using line 6 products on professional recordings. Although nowadays
brands like fractal audio and Kemper have taken over the amp-modelling scene
with bands like periphery and animals as leaders using Amp Sims for a tighter
and more digital sound

I have personally been using Line 6s POD HD500X for most almost two years
now but recently switched to and Engl tube amp. I still use the POD for recording
and re-amping but tend to gravitate more toward the Engl for a more realistic
sound when I practice.

Synchronisation and Digital Clocking
This is essential in digital audio as it helps to stop jitter from invading your
recordings. All Digital audio runs at several little steps in time, this is the sample
rate. It is essential that these sync up with the master clock at each end of a
signal e.g. A-D to DAW. To solve this problem we must set a master clock so that

all the other slave devices will follow in perfect sync with the master. This in turn
prevents jitter.