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Tone arm skipping on playback can be attributed to incorrect stylus pressure settings.

Any info about the optimum setting for tracking weight. e.g. 2 grams for your turntable. It takes a serious cartridge to do it at say 1 gram. If your tracking pressure is set too light, it may skip. Are your arm display settings for pressure reliable. There are stylus gauges that you can rest the stylus on and get a reading.

Better quality arm and cartridge setups track lighter without any skipping or distortion.

Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad/Atom SQ - HP Laptop Win 10 - Studio 24c interface -iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.5 (Mac and V6.5 Win 10 laptop), Notion 6.8, Ableton Live 11 Suite, LaunchPad Pro
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by toddgruel on Thu May 31, 2018 8:45 pm
I'm not sure if this thread has dwindled yet, but I'm still struggling with some fundamentals and would love to get some guidance.

1) When it comes to setting up the default sound preferences for projects, how do I set the Input to my interface (Audiobox iTwo) while setting the Output to my computer's internal output?

I see only one overall choice to be made within the Preferences under the Audio Devices--in which my Audiobox iTwo is currently selected. But by choosing that S1 then assumes that both the Input and Output are controlled by that device. Can this be changed?

2) What are the ideal settings for Device Block Size, Sample Rate, and Bit Depth? And does Floating 32-bit exist within S1?

3) And a hypothetical: If it comes between upgrading my stylus or upgrading my turntable (to something analog which I would then pair with a preamp), which would be the better option for increasing the bass response and getting me closer to CD-quality sound?
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by SwitchBack on Fri Jun 01, 2018 3:55 am
1) You want to set up an aggregate device, which is done from Utilities - Audio MIDI Setup. It allows you to combine the 2 inputs and 2 outputs of the iTwo with the 2 outputs of the built-in interface and perhaps the Soundflower 2x2 channel virtual interface into one 4x6 channel device. In S1 you can then use that new device to choose the inputs and outputs you need.
Provided that your Mac has enough usb ports you can even add your turntable’s usb interface to the aggregate device. That may require the whole aggregate device to operate at 16 bits but then allows you to record the turntable’s line output and usb output simultaneously so you can compare.

2) Buffer size doesn’t really matter just as long as you don’t get any skips or CPU spikes. I would set the bitrate to what the final product has to be. For bit depth I would set the song to at least 24 bits so I wouldn’t have to worry about available dynamic range. You can go for 32 bit floating point too but it adds to cpu load without a real need, vynil being the source material. At mixdown/export you can select the bit depth you need for the final product.

3) Your turntable is analog, with a usb interface stuck in at the very end so after the rca outputs. By feeding the rca line output signal into your iTwo line inputs you bypass your turntable’s a/d converter and usb interface completely. As long as you’re happy with the analog/mechanical/sonic part of the turntable then by all means use it. If not then you can replace it in parts or completely. Just remember, if you replace it with a turntable with only a phono output (or if you want to use your turntable’s phono output instead of the line output) you will also need a phono preamp with RIAA correction.
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by sirmonkey on Fri Jun 01, 2018 8:54 am
SwitchBack has is right!

I have this player (Mine is an Ion...exact same model, if not very close)
phpBB [video]

Please ignore the negative comments. This is an inexpensive unit, and the sound quality is very good. It has both analog and USB outputs. And I got mine for about $69.00 USD.

Any doubts, I can go ahead and record something and post it here. Of course, the quality of the sound is limited to the condition of my records. Anyway, do you like Led Zeppelin? How about he Stones? I do have a 45 rpm single of "Start Me Up" that I played a bazillion times. How about if I record that and post? I can't do it now, but I will if you like. Or whatever else. I also have Mozart, Chopin, Howlin Wolf..... I have a great variety of vinyl. :punk:

Atari 5200, 64K RAM S1PRO Radio Shack Cassette Recorder w/internal Mic, and too many plugins.
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by toddgruel on Fri Jun 01, 2018 9:42 pm
Thanks, guys.

1) SwitchBack, I've set my aggregate device and S1 recognized it. Check.

2) If I export to 32 bits at the end, after working with a 24 bit project, will there be a noticeable difference? Or, once again, does sound work within the weak link paradigm? What about sample rate?

3) Okay, thanks for clearing that up. It's hard to say how I feel about the analog/mechanical/sonic part of my turntable since I have no point of reference. But I'm beginning to realize that I'd have to spend at least a few hundred dollars more than I did for my current setup in order to hear any substantial benefits--and even then it might be subtle. So, I guess I'll stick with what I have for now.

I'm about ready to start this project, now that I understand the basics. But there's one more fundamental to establish: establishing the ideal volume levels while tracking. I've noticed that I get a different result when adjusting the track-specific fader versus the project-general fader. I imagine that it's ideal to make changes to the track-specific fader when tracking. At times, while adjusting both the track-specific fader versus the project-general fader, I've tracked a vinyl transfer that appears to be clipped within the visible wave form and yet plays without any noticeable clipping--at other times, it appears to be almost the opposite (the visible wave form appears to be normal and yet sounds like it was recorded too hot).

For purposes of simplifying my workflow, is there any reason why I can't lower the volume level while tracking, in order to prevent clipping, in order to "normalize" the volume level after the recording? Is there any reason to maximize every decibel the first time during tracking?

Sirmonkey, I'll never say no to a demonstration. Thanks for the offer. Dealer's choice, of course. :)

I guess the lesson that I'm trying to establish is that our "cheap" turntables are still capable of generating high quality sound--comparable with, if not better than (?), CDs. Is it fair to say that it's the vinyl records which contain the optimum sound quality latent within the recording, while it's the rest of the setup that determines how that latent sound potential is actuated?
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by Jemusic on Fri Jun 01, 2018 11:14 pm
When you are transferring into the DAW level wise, it is fairly easy. Most of the record will only reach a certain level and not go beyond. I would not be doing anything to the signal on the way in. There is no need. You will only be interfering with the original dynamics of the tracks on the record.

All you have to do is find a suitable loud passage and set that as your input signal level. Then you match that incoming level to your ref level whatever that is. But as a turntable signal most often only reaches a certain volume and wont go higher (this is due to the mastering of the original vinyl and its ability to only go up to a certain level and not really go much higher) You could set this to something like -12 dB FS as an rms ref level. Which is reasonably loud. But still has 12 dB of headroom above in the DAW and will rarely have to use it. So you will never have to lower the volume on a vinyl record going in, because once the loudest point is being captured right, the signal will rarely go over this. Records are mastered very well usually and you will see total consistency in level from track to track and it will rarely go higher.

In Studio One you could insert a level meter on the input channel and set it to say K-12 and just adjust the incoming level so that the meter just reads nicely up to 0 dB VU.

The OP keeps talking about doing stuff to the signal on the way in but in all cases where I have transferred vinyl to digital I have in fact not done this and just captured everything the way it is straight after the RIAA equaliser. Create a totally unaffected master.

Then in post production you can import this tracks and fiddle with some mastering type processing after the capture stage and create a secondary master again. That is the way a pro transfer house would do it.

There is not just a little quality jump when you spend more although for $200 - $300 more that might be the case. Once you start getting into very high end turntables things actually do sound significantly better.

Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad/Atom SQ - HP Laptop Win 10 - Studio 24c interface -iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.5 (Mac and V6.5 Win 10 laptop), Notion 6.8, Ableton Live 11 Suite, LaunchPad Pro
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by roblof on Sat Jun 02, 2018 2:18 am
All this talk about RIAA - Would it not be possible to use a parametric eq to correlate to the RIAA eq curve?

Studio One Pro v5, Notion 6, Nuendo 11, BitWig v3, Reaper v4, Ableton Live 8 Suite, iMac late 2015, Behringer Wing/x32-BigBoy/x32-rack all with Dante/aes67 and s16/sd16 stageboxes, Flow8, Waves x-wsg with SoundGrid server, Behringer X-Touch, X-Touch ONE, M-Air mr18, X-Air xr18, DP48, Hub4 and p16 monitor systems, TurboSound iQ-speakers, Motör 61, BCR-2000, FirePod 10, Apogee Ensemble, Alesis HD24, NI Komplete 12 Ultimate Collectors, Halion 6, True Temperament Frets on basses and guitars, Katana-100, DT-50, JSX, JCM800, Korg Kronos, Roland vk-7, Behringer Deepmind 12, Behringer Neutron
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by SwitchBack on Sat Jun 02, 2018 3:32 am
roblof wroteAll this talk about RIAA - Would it not be possible to use a parametric eq to correlate to the RIAA eq curve?
I doubt it. The (inverse) RIAA curve uses a rather extreme filter:Image
Even if you can get the level response sort of right it is highly unlikely that the PEQ will get the phase response right too. Doing it in analog isn’t very complicated and therefor isn’t very expensive. Just make sure that the filter is in or the results won’t be good (assuming that RIAA filtering was used on the record).

The other thing with proper phono preamps is having the correct impedance for turntable elements. You can’t connect a cartridge to just any input and expect a quality result. So unless the turntable comes with a built-in preamp (with a line output) you’ll want to use a phono preamp anyway, one that suits your cartridge :)
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by toddgruel on Sat Jun 02, 2018 12:56 pm
Thanks, Jemusic.

So you've helped me establish the fundamentals in principle. As I'm unprepared to spend more than a couple hundred dollars, even if I could return my turntable at this point, I'll do the best with what I have. What now remains is understanding how to implement these principles in practice. Keep in mind that my audio engineering skills are beyond rusty--it's been over a decade since I've used Sonar.

In regards to the input signal level, setting the incoming level to match the peak level will take some familiarity with the music that I'm transferring. In most cases, I've never heard the music that I'm transferring; so I'm hearing it for the first time during the transfer. With that said, I just want to be clear, is there any reason why I can't err on the side of safety by tracking the incoming levels quieter than normal in order to leave room for the likely/eventual peaks? I can safely adjust the levels in post after it's been recorded, right?

From the point that my project is open, however, I'm completely lost within the DAW (like Sonar, S1 is a little rough on beginners). How does one go about inserting a level meter on the input channel? Is there an existing thread on this topic that I can consult? Logistically, I'm still unsure about how to work within S1. (Do I click on the track-specific fader and then add an effect? Is a level meter considered an "effect?" I see an Inserts and Sends option beside the fader for my first track, but I'm not sure how it got there (and I'm imagining that this option is specific to that single track?)). Sorry, I'm in the painful stage of needing to relearn this all within a new DAW.
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by Jemusic on Sat Jun 02, 2018 2:53 pm
There is no harm in transferring at a lower overall level e.g. -18 or -20 ad a dB FS rms reference. But then you will have a quiet mastered and transferred recording which in all honesty will need to be mastered to a higher level of overall rms at some point later on.

When you are transferring say a very dynamic and transient source, then the extra headroom is warranted. But vinyl is a little different as a source. It just has this loudest point of level where the signal will not really ever go over this. Transients are limited say compared to a digital source. So this means you can transfer over at say a higher volume e.g. -12 dB FS as an rms reference and be safe in knowing nothing is going to be more than 12 dB higher than the average level.

You going to have a track that sounds reasonably loud and even if you burn a CD directly from that, it is going to be a decent volume. Very little level mastering will be needed on a -12 rms transfer.

But not altering the EQ either on the way over to digital, you are capturing the sound of that record with a higher degree of accuracy. More so with a very classy turntable.

In Studio One, while the mixer is showing, you need to expose the Inputs as part of the mixer. Click Inputs left on the list there. All the mixer channels will move over to the right and the input channels will be shown to the left. Those input channels also have inserts available. To see the inserts, click on the Small/Large triangles window. (They are two small upward and downward facing triangles) The inserts will appear. Insert the Level meter here. Click on them again if you want to shrink that view. The level meter can be pinned on the page as well. You can close the inputs even. Select K12 at the top of the level meter. Adjust for the loudest parts of the music to just hit the 0 dB VU mark.

You should listen to the record before hand. Transferring having never heard the vinyl is both a little lazy and risky. You can play it through and fine tune the input gains on the two channels while the music plays. You will find the perfect sweet spot for the input level gain settings.

I still prefer transferring each track as a separate identity. e.g. stating and stopping. I trim up the tracks in an audio editing program. However if the music segues a lot right through, you are better off transferring a whole side at once. Tracks can also be cut up later etc..

Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad/Atom SQ - HP Laptop Win 10 - Studio 24c interface -iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.5 (Mac and V6.5 Win 10 laptop), Notion 6.8, Ableton Live 11 Suite, LaunchPad Pro
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by toddgruel on Sat Jun 02, 2018 5:20 pm
Thanks, Jemusic.

It's beginning to make sense--but I have a long ways to go.

I'm not sure what a "dB FS rms" is, but I'll take your word for it. ;)

When you mention that quietly recorded tracks will need to be mastered later, does this involve anything beyond raising the volume level, say, by an effect like Normalize? If not, there's no problem doing that. Either way, it will have to be touched up again further along in the process.

It certainly is daring, I'll give you that. It has less to do with laziness than efficiency, though--since I have other projects to attend to, I'm attempting to multi-task.

Shoot, from the very beginning I'm struggling to follow already. I'm not sure about "All the mixer channels will move over to the right and the input channels will be shown to the left." Perhaps this was subtle and I missed it? These are the FX options that are visible:
Screen Shot 2018-06-02 at 4.03.53 PM.png
, but this doesn't seem, explicitly, to include a Level Meter. Can any of the available options suffice?

And when you mention "fine tuning the input levels on the two channels," which two channels are you speaking of: the track-specific channel and the global-project channel? Do I have the ideas and/or terminology correct? If I'm only tracking one recording at a time, does it matter which one of these I'm making changes to? Would it only matter if there was some FX being applied to a track during the tracking process?

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Screen Shot 2018-06-02 at 4.03.53 PM.png
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by Jemusic on Sat Jun 02, 2018 6:22 pm
The two channels I am referring to are the input channels. Analog out from a turntable to analog in on your interface.

Although if you are coming in from USB how do you in fact control the incoming record level..Is there a way to vary the level being sent from the turntable? When you arm a track and see the incoming signal from the USB turntable then, can you vary that somewhere.

If not you can always insert Mix Tool before the Level meter on the input channels and vary the gain there. Assuming there is no input converter clipping going on. If the level coming from the USB turntable is not adjustable it may be important to figure out what that average level actually is. In terms of the dB FS digital scale that is. A typical album that is known to be reasonably loud should be played e.g. a pop record.

Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad/Atom SQ - HP Laptop Win 10 - Studio 24c interface -iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.5 (Mac and V6.5 Win 10 laptop), Notion 6.8, Ableton Live 11 Suite, LaunchPad Pro
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by toddgruel on Sat Jun 02, 2018 9:51 pm
Thanks, Jemusic.

To clarify my setup, I'm currently running RCAs out of the turntable (via the Line Out channel) and into the iTwo interface. Within S1, this allows me to adjust the volume level while tracking.

Okay, here's where it gets sticky, since I'm unfamiliar with both the procedures and the terminology. "Mix Tool" doesn't seem to correspond to any of the available channel FX (those which are visible when I select the downward arrow next to the Inserts section which currently sits atop my volume meter). Where would I find said Mix Tool? Does this refer to a specific FX or is this a general category for a type of FX (in this case, some sort of volume maximizer)?

Also, how would I know if there was an issue with the input converter clipping? I don't hear any clipping, so I'm going to assume that there isn't an issue--for now.

Thanks for the patience.
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by Jemusic on Sat Jun 02, 2018 10:11 pm
I would connect the two RCA's out from the turntable to the iTwo inputs. I would plug into the centre of the combo jacks. Either with an RCA to Jack lead. Or RCA to RCA lead with adaptors on the end converting the RCA connections to jack connections.

Those Instrument buttons do not have to be pushed in necessarily. That only increases the input impedance for passive guitars and basses etc. Those inputs should still match well with the turntable outputs with the instrument buttons out. Just using the centre of the combo XLR jacks means you are already in line input mode.

The two level controls on the front of the iTwo are for adjusting the level coming into Studio One on channels 1 and 2 respectively. (L and R)

Mixtool is a Presonus plugin, but sounds like you wont need it. It digitally adds and subtracts gain among other things. There should be no A to D input converter clipping either.

Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad/Atom SQ - HP Laptop Win 10 - Studio 24c interface -iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.5 (Mac and V6.5 Win 10 laptop), Notion 6.8, Ableton Live 11 Suite, LaunchPad Pro
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by sirmonkey on Sat Jun 02, 2018 10:57 pm
toddgruel wroteThanks, guys...

Sirmonkey, I'll never say no to a demonstration. Thanks for the offer. Dealer's choice, of course. :)

I guess the lesson that I'm trying to establish is that our "cheap" turntables are still capable of generating high quality sound--comparable with, if not better than (?), CDs. Is it fair to say that it's the vinyl records which contain the optimum sound quality latent within the recording, while it's the rest of the setup that determines how that latent sound potential is actuated?


I think that I will try to find something that I have on both CD and on vinyl, and post both. I will also try to match the levels of the tracks. Also, I might add some record needle noise at the beginning of the CD version (taken from the vinyl, to make it a blind test)
If I do it right, I think it may be hard to tell digital from vinyl. However, any remastering on a CD could really render the comparison useless. So I'll try a few thing out on my next day off from work.

* Jemusic, I bet you will know right away which is which. You have much more detailed knowledge than I have, and very probably a more perceptive ear than most. But it will be fun trying this!

Atari 5200, 64K RAM S1PRO Radio Shack Cassette Recorder w/internal Mic, and too many plugins.
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by toddgruel on Sun Jun 03, 2018 10:12 am
Thanks, Jemusic. I'm plugged into the center of the input port of my iTwo via the RCA adaptors (one for the left channel and one for the right).

Another hypothetical remains regarding tracking volume levels: Does it matter (ultimately--i.e., is there any variance in quality) if I adjust the volume for the recording on the Left and Right iTwo channels or within S1? And does it matter (ultimately--i.e., is there any variance in quality) if I record at lower volume levels, although I'll do my best to adjust to the peak volume within each recording, in order to leave headspace in the volume to normalize later? Does volume not remain volume?

Lastly, are there any essential plug-ins that the board recommends?
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by toddgruel on Sun Jun 03, 2018 10:37 am
I'll be happy when I've figured this all out. Periodically, when opening S1, I seem to experience the tracking process differently--I'm not sure what I'm doing, or what I'm not doing, but sometimes my understanding of the program falls short of reality.

While trying to transfer music this morning, I opening my project in S1 and pressed record: only to hear/see nothing happen--no music played through my speakers and no waveform was recorded. I know that I created my aggregate device, as suggested:
Screen Shot 2018-06-03 at 9.24.52 AM.png
.

And this device is selected within S1:
Aggregate Device.png
.

I know my Outputs are correct:
Outputs.png
.

Have I missed setting up my Inputs? If so, what's the process for doing so, and then establishing that as the new default for all projects?
Inputs.png
.

I imagine that this will all become second nature, eventually?
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by Jemusic on Sun Jun 03, 2018 12:21 pm
The Multi Audio device looks like it includes a bunch of outputs all at once. I would try only selecting PreSonus AudioBox iTwo as the only output.

Or try over on the very left menu selecting PreSonus AudioBox iTwo instead of MultiAudio device there.

Same as in Studio One. You have to let it know what interface you want to use as well. Studio One and the Mac audio can be set to different things. It is best they are set to the same interface. Try PreSonus AudioBox iTwo there as well in Studio One as the interface.

On the PC I disable the onboard audio and only use the interface. On the Mac I ensure no internal inputs or outputs are being used. The Mac works well when being directed straight to the audio hardware you have connected.

With regard to incoming recording levels, the average or rms level of the music is going to be set on the way in with the two controls on the front panel of the interface. I would imagine both L and R controls will be at a very similar setting e.g. matched. Check this. These are the only two controls that will effect the level of the signal being recorded inside your DAW.

As I have mentioned I would be inclined to record on the higher side simply because you will end up with a nice decent level sounding recording. That won't need any mastering more than likely. Setting the input Level meter to a K12 setting will create an average rms level around -12 dB FS on the digital scale which is a good solid loud level. Still with 12 dB of headroom up your sleeve but the vinyl will rarely produce a signal 12 dB higher than its loudest level. Vinyl tends to reach a typical nominal level and and stay there all the way through. The way the vinyl mastering engineer organised it. (Something you may not know either and that is Studio One is recording around 3 dB lower as well compared to what the meters are telling you so you have got even more headroom than you think even at -12 rms levels going in)

As far as any form of processing goes on the way in, whatever you do is more than likely only going to make it sound worse than it is, especially with people who lack the experience in this area. The idea is get into the mentality of a pristine and true and accurate transfer. Fiddle around with it later. With a good transfer no normalising will help much either. The cracks and pops will prevent any real amount of normalising to take place. (they will be short lived but high in peak levels) You have to do other things such as hard limiting at say -5 dB and then add 4 db overall to the whole track. That will be the only way to get a louder rms level later on in post. Vinyl transfers are one place where you can record to a high rms level and not be concerned with transients because there aren't any!

Vinyl is way inferior to digital as far as transients are concerned. Everyone thinks vinyl is so sacred and amazing but its fact it is not that great at all. As a drummer in front of one of the fastest snare drums in the world (Sonar Rosewood) tape never captured it properly nor does the record groove either. It is just a poor combo. Digital kills it by a mile.

Specs i5-2500K 3.5 Ghz-8 Gb RAM-Win 7 64 bit - ATI Radeon HD6900 Series - RME HDSP9632 - Midex 8 Midi interface - Faderport 2/8 - Atom Pad/Atom SQ - HP Laptop Win 10 - Studio 24c interface -iMac 2.5Ghz Core i5 - High Sierra 10.13.6 - Focusrite Clarett 2 Pre & Scarlett 18i20. Studio One V5.5 (Mac and V6.5 Win 10 laptop), Notion 6.8, Ableton Live 11 Suite, LaunchPad Pro
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by SwitchBack on Sun Jun 03, 2018 3:28 pm
toddgruel wroteHave I missed setting up my Inputs? If so, what's the process for doing so, and then establishing that as the new default for all projects?

You want to set up an aggregate device, not a multi-output device. After aggregating your built-in output and your iTwo (in that order) your new device should have 2 inputs (from the iTwo) and 4 outputs (1+2 to the built-in output and 3+4 to the iTwo). Then select the new device as your audio device in S1. S1 will use the last used audio device, and sample rate, and resolution, until you select new settings.
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by toddgruel on Sun Jun 03, 2018 4:15 pm
SwitchBack, you've articulated the distinction that I've missed. I've now created a new aggregate device as you suggested, in the order suggested:
Screen Shot 2018-06-03 at 3.06.18 PM.png
.

And I've made that selection within S1:
Screen Shot 2018-06-03 at 3.06.44 PM.png
.

However, this still results in no sound output through my speakers. I'm not sure what's happening. What am I missing now?

Jemusic, it's probably correct to note that there are limitations inherent within the vinyl medium like any other technology--it's not always superior to CD. That's fair. It's enough to say that this project is an extremely taxing undertaking just for the sake of retaining some of vinyl aura. It would be a lot easier to begin with digital files--although I'd need to work on acquiring digital copies of my records which would be another project; so I'll just do the best with what I have already.

But to be clear again, what do you mean by setting the Level meter to a K12 setting? Do you mean literally leveling the meter at 12 dB during tracking? Or do you mean using a limiter or gate or some automated FX during the tracking process to help normalize that process (and, if so, what should I use)?

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