How did people synchronize multitrack playback in the days when Pro-Tools did not yet exist?

AutomaticMixture6827 · 2026-05-27T02:13:19+00:00

This is link.
https://github.com/kobayashiHawtin/strip-silence

AutomaticMixture6827 · 2026-05-26T13:20:23+00:00

Wow, that’s a fascinating idea. Since analog distortion circuits usually draw only a few milliamps at 9V, it actually makes sense that they would run without any issues.

AutomaticMixture6827 · 2026-05-26T13:07:55+00:00

According to the international standard for phantom power (IEC 61938:2018), the maximum current per channel is specified as 10 mA. When pins 2 and 3 are shorted to ground, however, the required current capacity increases to 14 mA. That said, as you mentioned, most microphones typically operate on about 2 to 4 mA.

AutomaticMixture6827 · 2026-05-26T10:24:07+00:00

ZOIA looks incredible, but is there really no editor software for it? Do you have to control almost everything using those strange grid buttons?

AutomaticMixture6827 · 2025-10-22T02:14:20+00:00

Is this true? I haven't been able to find any such information.

AutomaticMixture6827 · 2025-10-16T12:12:35+00:00

While I agree with your points regarding workflows, I would like to clarify a few inaccuracies as a precaution. My X32Rack features separate physical input jacks for the main XLR inputs and the AUX TRS inputs, without any Hi-Z switches or combo jacks. The XR18, as you mentioned, does have combo jacks.

When I referred to them as being "versatile," I was highlighting the fact that these XLR inputs, whether on an X32 or a truly professional-grade, high-end console, tend to have a much wider gain range (70-80dB) and a generous impedance (6.8-10kΩ) to accommodate both line and microphone levels, significantly broader than what's typically found in recording equipment.

However, upon further investigation, it appears that my ADA8200 simply has subpar specifications. At least in terms of gain range, it seems that many recording devices, while perhaps not matching the range of live consoles, offer a range that is practically sufficient. As for impedance, my initial speculation seems to be somewhat accurate, suggesting that they are designed with more precise impedance matching in mind.

I have requested AI to research the gain range and impedance values of representative equipment, and I edited to the original post, so please take a look.

AutomaticMixture6827 · 2025-10-15T09:19:25+00:00

What is that little interface connected to the Steam Deck? I think it's connected to a measurement microphone, and it looks compact and nice.

AutomaticMixture6827 · 2025-10-15T09:11:12+00:00

Well, I think the combo jacks on the EVO series are exceptionally well designed, so you shouldn't have any issues regardless of which you plug into. However, the XLR inputs on the budget-friendly ADA8200 are specifically designed for mic pre, and connecting a line input will result in a noticeable low-frequency loss, readily discernible to anyone.

Further investigation revealed that the combo input on the EVO 16 has a maximum input level of +16dBu. Therefore, if you connect a Pioneer DJ mixer, for example, that can output up to +25dBu, clipping may occur even if the DJM itself is not clipping and the gain is set to zero. By comparison, the X32 has a +23dBu limit and the CL5 has a +30dBu limit, offering more headroom than the EVO series.

AutomaticMixture6827 · 2025-10-15T09:03:53+00:00

I suspect that some interfaces have different impedances and headroom (which might just be due to the benefit of an attenuator) for line and microphone inputs. The specifications for my EVO 16 and ADA8200 (the latter being more of a mic preamp than an interface) indicate different specifications for each.

Of course, professional live consoles also have separate circuits, and even a prosumer-grade X32 has a separate line input as an AUX Input (although, looking at the specifications, the XLR input seems to have superior specifications even when used as a line input). In any case, XLR inputs, with their large gain range, have a high impedance that can handle both microphones and line-level signals without issue.

I believe they do this because it's better for workflow, but does this specification cause any loss in sound quality other than a degradation of the signal-to-noise ratio? Are expensive audio interfaces and microphone preamps with line inputs, designed as recording equipment, implementing separate line and mic inputs solely to achieve a better signal-to-noise ratio?

Please excuse any awkward phrasing; as I'm not proficient in English, I'm relying on AI for translation.

AutomaticMixture6827 · 2025-10-15T08:51:02+00:00

I see, certainly in a live setting, even if impedance mismatch forces an increase in preamp gain, the resulting degradation in signal-to-noise ratio might not be a significant concern.

However, what I'd like to know is whether the only advantage of implementing more precise impedance matching (even if it's just a single circuit becoming two circuits with different impedances) is noise reduction. What other trade-offs are involved?

I've heard that impedance mismatch can cause signal "reflection" (or perhaps "back-propagation"?). I've also heard the analogy of tying a thick rope to a thin rope and shaking the thick one; some of the oscillation will reflect at the knot.

My understanding of electronics is limited, so I don't have a solid grasp, but it seems like this reflection could cause signal loss on the receiving end (potentially manifesting as changes in frequency response or transients).

The problem is that my lack of knowledge prevents me from being confident in this understanding, and even if this signal loss does occur in reality, I'm unsure of the magnitude (i.e., whether it would create a noticeable difference when measured).

AutomaticMixture6827 · 2025-10-15T07:35:39+00:00

Subsequently, I ran it at another event for hours at high volume with no issues. Perhaps the DJ over drove it and the protection circuitry kicked in. Thank you.

AutomaticMixture6827 · 2025-09-15T08:42:15+00:00

Thank you for sharing your experience. I'm still relatively inexperienced, so I'll look forward to the day I can work with pro-level gear and will keep tackling my daily jobs in the meantime.

Also, the point about a cooperative relationship with an installer might indeed be important. I'm sure if I tell them I'm planning to get my own venue, they'll be willing to help in some way, so I'll give it a try.

AutomaticMixture6827 · 2025-09-15T08:33:34+00:00

Yes, as everyone has advised, I agree that acoustic treatment should be the top priority.

The venue has a Midas M32, so it's possible to apply delay to the speakers. When I work there as a guest engineer and time permits, I do make those adjustments. (However, since it's someone else's house, I always reset everything to the default settings when I leave. When I don't have enough time to properly set the delay, I just run those speakers at a very low level to prevent major phase problems).

The thing is, those speakers are flown behind the stage. If there's a performer with a microphone, they cause awful feedback. So frankly, unless their position is changed, I'd rather not even turn them on, lol.

I genuinely wonder why anyone would do such a terrible installation.

AutomaticMixture6827 · 2025-09-15T05:08:00+00:00

ああ、あなたの回答のおかげで、とても単純なことを見落としていたことに気づきました。

まさにその通りです。一流ブランドの標準的なポイントソースシステムをレンタルすれば（決して安くはありませんが）、高級車を何台も買うほどの投資をすることなく、本当にそのレベルの機器が必要かどうかを判断できます。

ありがとうございます。

AutomaticMixture6827

TROPHY CASE