I laboured under the impression that an earlier ATM discussing audio interfaces was about gizmos to attach to the line-out of your hi-fi and plug into your laptop via USB – until I saw all those weird jack plug input sockets – shock horror, they are for microphones and geetars!!
What I currently have is a little noddy thing that takes a stereo line level output and sends it out to a USB I can plug into a laptop to record straight into Audacity and save from there as wav files. It’s OK I suppose (I’ve done a few relatively OK needle drops that way) but it’s a really plasticy little thing and has limited controls bar a dodgy looking switch to change from MM to MC cartridge sources.
Shirley, there must be a neat gadget I can get to do the same job, only with far better quality?
Any help most welcome.
Calling @fentonsteve and others!
I’m sure Steve will be along shortly but, because of the way you phrased your post, I’m curious to know if you are connecting your record deck directly to this box or are using an output from your amp. IIRC, I have a tape monitor output on the back of my ancient NAD amp which would allow me to connect to a USB interface.
Neither option in my reply below includes RIAA EQ.
You’re better off plugging your turntable into any half-decent amp and using the pre-out or line-level tape out into a line-level USB interface.
The likes of Behringer sell cheap RIAA to USB units, functional but sub-par performance.
What made me curious was the mention of a cartridge type switch on Foxy’s current device.
Sadly, there are not many about because most people buying such “audio interfaces” are buying them for home studios, so they include microphone & guitar inputs.
The simplest, half-decent and cost-effective device I ever found was the ESI U24XL (https://www.esi-audio.com/products/u24xl/), now discontinued. This had two inputs, two outputs puls S/PDIF and Toslink inputs and outputs. Major drawback was the lack on an input gain control, line-out from my preamp made it clip so I had to build an attenuator. Mine then developed a minor fault which added a high-pitch low-level whine to recordings, but don’t let that put you off – I know the peeps at ESI and they are Engineers not Marketing types.
Guitars require very high impedance (Hi-Z) inputs to prevent high-frequency roll-off as a result of the pickup winding impedance (which can bee in the hundreds of Ohms). Typical Hi-Z inputs are 1 Mega Ohm or more.
Line-level sources have output impedance in single-figure/tens of Ohms, typical line-level inputs are 47k (47 thousand Ohms), or 22k, or even 10k.
But… line level sources can drive Hi-Z inputs without any loss of quality.
Ignoring the likes of Behringer, the latest ESI range is the Neva, two models:
Neva Uno has one input switchable between mic/line levels, one line-only input, gain controls, stereo line-level outputs. £60.
https://www.esi-audio.com/products/nevauno/
Neva Duo has both inputs switchable between mic/line levels, gain controls, stereo line-level outputs. £85.
https://www.esi-audio.com/products/nevaduo/
Beyond that, you’re looking at Focusrite, which are the home studio standard, but aimed more at musicians/producers.
Cheers – I think I followed that. The important bit being ‘switchable between mic/line levels’. I think.
So; this Neva Duo thingamajig looks neat. For the sake of utter clarity at an idiot level, this would allow me to record from a line level output from my amp (‘tape monitor’ or somesuch) by acquiring a lead with RCAs at one end (to plug into amp) wired to a stereo quarter inch jack at the other end (to plug into Neva Duo gizmo) and the resulting stereo feed would then be fed to the USB output on the Neva Duo gizmo (to plug into laptop). Is that right?
And I think I’m right in saying that I could also (if I was really foolish) plug my Strat in and record myself noodling, and if my brother was visiting, and had brought his Tele with him (which he always does) we could noodle together and record the catastrophic squall of noise that usually results? In other words, use the Neva Duo gizmo for what it’s really menat to do?
My head hurts.
Yes.
The Neva Duo features a Line or Hi-Z button for each input. For your amp tape loop select Line (button up), with guitar press the button in for Hi-Z.
Cunningly, the input dual sockets take 3-pin XLR for microphones or, up the middle, balanced 1/4″ TRS jacks for line or guitar.
The 48V button is Phantom Power, just for microphones which need it (most don’t) connected to the XLR pins.
The other button is for Direct Monitoring which allows, when monitoring over headphones, to select between the analogue inputs or the ADC-USB-DAC digital chain when setting the input gain.
Since your guitar and amp tape loop won’t be balanced* sources, you need a pair of these or similar. Note the 1/4″ jacks are 2-pole (Mono) not 3-pole like the one fitted to one end of your stereo headphones.
(*) We don’t need to go into that right now. Or ever, really.
You are a bloody star, mate. Thank you so much.
Right, I’m off to buy a Neva Duo gizmo!
Being partner in musical crimes with the editor of Sound On Sound helps a lot in matters of ‘prosumer’ audio equipment selection. In other words, I ask him what I should buy and he tells me. I’m just trickling down the knowledge.
You had me at Toslink inputs.
I’m off for a snooze.
I bought an old CD recorder for 50 bucks. Lot easier than doing “needle drops” with all this extra hardware, computers, software and cables!
There’s an advantage to capturing vinyl rips in 24 bits and higher sample rate – it’s easier to get decent sound quality out of a 24-bit ADC without the risk of it clipping, and it’s easier/better to remove clicks and pops at higher resolution.
The ESI units above capture 24 bit up to 192kHz sample rate, which is a bit OTT.
I do my vinyl rips and editing at 24 bit 88.2kHz, and downsample to 24/44.1 for archiving (files are half the size).
Sexiest three AW paragraphs ever. Like Freddy, I’m off for a lie- down (hope my shakes go)
Yeah but just dropping the needle and pressing record also has some advantages.
Studiospares have a sale on and are excellent for phone interpretation of customer requirements. They seem to have some nice compact interfaces which look, ummm, newbieproof. They are in Luton and happily you have a mate down the road, I think.
https://www.studiospares.com/studio-gear/audio-interfaces.htm
Studiospares are the DFS of audio equipment, aren’t they? Every day is sale day.
I’m on their email mailing list. How many cable bags/trolleys/portable vocal booths does a man need?
Their own brand kit is decent. My PA speakers came from there. They’re good for little bits of kit and I used to love the paper catalogue when they were still a thing.
Yeah, I have a couple of their own-brand DI boxes and many acoustic panels.
*checks out Audiospares website*
*hurriedly locks wallet in office safe*
*buys Neva Duo gizmo from dodgers and 0.9m twin gold-plated RCA-mono Jack lead*
*awaits Monday delivery*
I’ll let you know how I get on. Phew. Narrow kit-binge escape I think.
Very sensible VV. 2 minutes longer you’d have talked yourself into buying a universal plug tester.
Can’t beat a gizmo…
I am up to the ears with them. MTR GB-1 GainBrain anyone?
Everyone loves a gizmo – and fentonsteve loves a DI box – so I’ll just leave this here: bought second-hand in the late 19th century, and still in my bass case…
Phwaor!
Canford still sell them – if it ain’t broke, don’t fix it.
Most of mine are phantom-powered BSS AR-133 jobbies but I do have a stereo passive (ideal for keyboards) made by Orchid.
Phwoar? I do worry about your proclivities, @fentonsteve…
I carry it as a “just in case” – on the rare occasions over the last two decades, when we were playing at a venue big enough to have a sound-guy, they had their own arrangements (of course). But there’s been the odd occasion at “church hall” sized gigs, with an amateur sound man, where the suggestion to use the little DI has been well received.
I am the sort of person who takes at least three different types of DI box to a gig. I am also very dull.
It could be worse – I could have a microphone habit, like my partner in crime.
Arf! I know “guitar porn” is a thing…but DI box porn?
When your musical partner in crime works for Sound On Sound magazine, nothing is considered too nerdy.
Was he a fiend before he became a teen?
Being male I have a number of habits, notably my bottleneck habit. I am sure they are breeding. See also microphones, guitars, pedals etc. It is only lack of space which constrains me.
**Returns to Gumtree to drool over reissue 70s cherry Gibson Flying V reissue ad**
Oh, @Twang…guess what?
Is that yours Fitz? Lovely.
70s reissue, US-made exclusively for the Japanese market. Burstbuckers instead of ceramics, so it sounds properly old-school, more for Albert King and Andy Powell than the spandex market…
I’m looking at one like that on Gumtree which is very similar but with open coils and green tuners, nitro finish not the faded one (mind you like those too) – 2011 70s reissue. He wants £1600 which sounds a bit steep to me. What do you think?
Without having seen it – yep, sounds a bit steep. Mine is full gloss and also a limited edition, hard shaped case, etc., well looked after – Grover kidneys instead of Schallers.
If I was selling, I’d probably be looking for 1350 to 1400.
Just an FYI. When you are talking to a Scottish person, “jobbies” means something different. I felt you should be made aware of that! 🙂 (I’m sitting here laughing at the idea of a “phantom powered jobby”).
I’ve always respected the fact that Scottish associates going to the toilet with work.
Which Scottish associates? That’s not even a sentence! Ya wee jobby!!
Mrs F, a bit of a mongrel, was born in the Cairngorms. So I am aware… I do lots of similiar things just to wind her up. See also:
Mrs F: “I’m popping to the shop for the messages.”
Me: “Tell Dave I said hello.”
And some hilarious Manuel-style “Que?” whenever she speaks Spanish. Any French gets a “Bof!” and a shrug of the shoulders. It’s the little things that keep a marriage – and a thread – alive.
Dad Jokes always get all the attention, but I sometimes think Husband Jokes are just as important. I can do both! Badly! (which is the whole point, isn’t it?)
Friend of mine used to talk about his trips to hairdressers, he would say “I just had a wet cut and a blow job”
Does she take a line with her to the messages?
Orchid are brilliant. I have their DI and Guitar re-amp box which is a beauty. Orchid is literally a man in a shed. Love it. Look here for gizmo porn.
http://orchid-electronics.co.uk/
I must have bought this about 10 years ago – it originally came with a copy of Audacity on CD, so that dates it. Always seems to work fine…
The lead on the right has the usb connector – it is just turned sideways.
I was always curious about these kind of things. Audacity is a fantastic value for money (free) package but hardly suitable for the sort of novice user who would buy some hardware like this. There are features in Audacity that I’ve never used, and I’m a full-on audio nerd. It’s like being handed the keys to a helicopter, when all you really need is a pushbike.
The ESI unit Foxy has bought is essentially just an evolution of this: it accepts microphones as well, has a higher-spec converter chip and comes in a slightly bigger box.
If I was to write a list of my top five things on the internet then Audacity would definitely be up there. I can’t believe it’s free: it’s such a great program and I’ve been using it for years for anything audio related. In fact, if I’m not mistaken I think it is an updated version of CoolEdit with a name change: and if that’s the case then I’ve been using it since 1998!!
It may be like a helicopter, but I’ve always found the interface to be really intuitive and it really speaks to me. CoolEdit back in the day was when I first became aquainted with what soundwaves “look like”, the effects of bass and treble, and things like clipping, noise floor and compression, all that jazz.
Cool Edit (Pro) became Adobe Audition about 20 years ago.
Audacity was someone else, and has been owned by Muse Group for a couple of years (still free and open-source).
CoolEdit was brilliant. The first audio editor I used.
Wasn’t it just, though? Simpler times, jumpers for goalposts, etc.
Sadly, Adobe improved/ruined it.
Adobe’s greatest crime in my line of work was buying Macromedia to get its hands on Flash and Dreamweaver, and killing the vector-drawing software FreeHand.
Didn’t Dreamweaver just become John?
Dreamweaver as a name for software is fotherington-thomas level wetness.
The dream is over…
Dreamweaver was the first web editor I used!
Was it Flash where you used to be able to free hand animation cels really quickly? I used to love using that at art school (early noughties) to do really quick and simple hand drawn frame-by-frame animations. It was brilliant!
Probably. Macromedia’s products all played nicely with each other. I still use FreeHand, preferring it to Illustrator. I have old Macs which it runs on, and have recently combined the bits of three to make a dedicated machine for it.
I have used Cool Edit Pro at the radio station where I volunteer, and I must say Audacity is a lot more intuitive. I may just be that I’m more used to it, but no one ever had to explain anything in Audacity to me. But I agree – there are things there that are beyond my ken and which I have no idea about.
Having said that, a recent upgrade release has annoyed me a bit. If you copy and paste, say, a music track onto the end of a spoken word intro, then it now seems to leave a gap where it never used to. You have to go back and edit out a bit of silence.
Oh, I stand corrected, I didn’t know that. I thought Audacity was the same people.
But yes, simpler times! There are actually days when I miss the simplicity of Windows 3.1. What could be more intuitive??