Pre-Amp with MS-2?

I just purchased a Marshall MS-2 micro amp to record electric guitar into Garageband. I plugged the headphone out into the line in on the Mac and nothing. No green level lights. I got no sound at all. I have used my regular Fender practice amp to record electric guitar, but was hoping to be able to use this convenient little desktop amplifier.
Any ideas why it won't work?
Thanks in advance.

Thanks.
I had been using my regular amp with success as recently as yesterday, so I know it isn't a settings issue. I checked the cords and they are all fine. It is just for some reason there is no signal from the micro amp output to the GB track. I checked that the monitor is on etc.
The whole reason to get this MS-2 was to avoid dragging my big amp out all the time in my tiny flat. What a bummer...

Similar Messages

Digital Pre-Amp

My Mac-Mini has an optical audio input.
Could I use a mic pre-amp with an optical output to get high quality audio from my condenser mic into the Mac ?
Without the use of an external soundcard ?
The built-in card on my Mac provides amply small latency, its just that the A/D is not as good as a good pre-amp.
Has anybody tried this ?
Mac-Mini Duo Mac OS X (10.4.9) Logic Pro v7.2.3, Presonus Firebox, Access Virus Ti Polar

This is where I got my info:
If audio data recorded on another computer at a sample rate not supported by the iMac G5 hardware is played on the iMac G5, the Core Audio (Mac OS X’s OS Level Audio API) transparently sample rate converts the data to the current sample rate that has been selected on the iMac G5. To maximize audio fidelity, the Core Audio samples are stored as 32-bit floating point. The Sound Manager exists as a Carbon compatibility layer, but developers are encouraged to move their applications to Core Audio for maximum performance and fidelity, because the Sound Manager is not capable of supporting bit depths greater than 16 bits or sample rates greater than 48.000 KHz. Sample rates of 64.000 KHz, 88.200 KHz and 96.000 KHz are not supported by the Sound Manager. Bit depths of 24 bits are not supported by the Sound Manager.
I read that to mean: It will accept 24 bit, but it is converted from 24-16. Before having my FF800 I was looking into this option and decided to go the other route.
I could be wrong...

Pre-Amp Xfi Fatali

Hello i bought the Soundblaster X-Fi Fatality Professional Series Xtreme Gamer with 64 mb X-Ram soundcard and was wondering if there is pre-amp on the soundcard for the line in/mic jack. I want to know this so i can decide if its suitable for recording from a Mic for studio/production/mix work. Thanks in advance

I haven't tried to on my system. I went from the Audigy 2 plat. to the X-Fi Platinum Fatalty Champion. I was recording from a dynamic mic and found the sound slightly low even with the input volume turned up. If you use a condensed mic with phantom power you may have better results.
Mexdude wrote:
Hello i bought the Soundblaster X-Fi Fatality Professional Series Xtreme Gamer with 64 mb X-Ram soundcard and was wondering if there is pre-amp on the soundcard for the line in/mic jack. I want to know this so i can decide if its suitable for recording from a Mic for studio/production/mix work. Thanks in advance

Audio "pre-amp" settings

Captivate v5.5
I opened a project that was created in v4 with v5.5 in order to edit it.
I needed to add some slide with audio and change some of the audio on some of the existing slides.
When I came to check my work the new audio was at a very low volume level compared to the original slides (created in v4).
After checking all sound settings on my PC and within Captivate I noticed the following "Pre-amp value":
I dont recall what the value was but I moved it up to "2" and that appears to have solved the problem.
1. Is there a suggested best value for the Pre-amp" ? What level do you have yours set to ?
2. Is setting the "pre-amp" value something you should be made aware of when you first launch Captivate ? If I had been aware it would have saved me a lot of wasted time.
Noel

This value affects the gain applied to the microphone input. If your microphone is very powerful, you'll need to reduce the Pre-Amp value. If your mic is weak, you can crank up the pre-amp to compensate.
Once you set this value in a project file, Captivate remembers it. So if you are using the same microphone all the time, you just set it when you start recording voiceover and then forget about it.
I have Rode Podcaster and Blue Yeti USB microphones that I use for recording. I have the pre-amp set to 1 for them.
There is no right or wrong setting. You need to do some experimentation and work out what your mic/s require to give the cleanest audio result that still has sufficient volume.

Pre Amp Problems

Hello,
I recently purchased an M-Audio pre-amp and it is working perfectly with GarageBand but I'm having some problems with Logic
when I open logic I go to the window: audio >hardware and drivers then I choose my pre-amp as the driver and then I enable a track to record and
the levels work perfectly and when I record I cant hear anything.
I think that Logic is using my m-box as an audio IN and an audio OUT when I only need it as an audio IN.
IS THERE ANY WAY TO MAKE MY PRE-AMP JUST BE AN INPUT?
Any help would be VERY much appreciated
Sincerely
-RATM-Man
iMac, Ibenez Bass, Fender Jazz Bass, GarageBand, Logic Express Mac OS X (10.4.8)

You need to create an 'aggregate device' in Audio/MIDI set up (in your utilities folder)
Add your M-Audio device as an input, then add your built-in audio as an output.
Now go to Logic's preferences -> audio -> drivers and in the popup you should now see your new aggregate device. Select it.
That should work. This is a common question, so if you search on "aggregate device" you should see a lot of posts that might help if you are still having problems.

Is there a pre-amp plug-in?

Is there a pre-amp plug-in for microphones?
We have a USB mic. Thanks ahead of time.

bigintheburbsinc wrote:
Is there a pre-amp plug-in for microphones?
even if you find it, it won't work with GB. all of GB's effect plug-ins are rendered POST, no effects are PRE
and you can change them at any time:
http://www.bulletsandbones.com/GB/GBFAQ.html#nondestructive
(Let the page FULLY load. The link to your answer is at the top of your screen)
using any of GB's various compressors may help get the sound you're trying to achieve

Using a mixing board as a pre amp?

Hey all,
I have a decent little M-Audio audio interface but I'd like to record more than 2 real instrument tracks simultaneously for a recording session. I believe I can record up to 8 real instrument tracks at any given time with GB3 and was wondering if I am able to use a mixing board as a pre amp much like my audio interface? If so, how do I connect it up?
Here's the link to our board:
http://www.behringer.com/UB2222FX/index.cfm?lang=ENG
Thanks!
Jay.

For 8 channels you'd need a FireWire interface or mixing console that offers at least 8 channels out.
An example, the interface I use, the Presonus FirePod FireWire Audio Interface
8 Mic PREs and 10 channels out (GB can use 8 of those)

Questions about Pre-amp of the Tascam FW1884 or M-Audio Project Mix...

Hello everybody,
I'd like to purchase a semi-pro (I hope) audio interface.
The Tascam FW1884 or the M-Audio Project Mix with their "all in one" feature seem to fit for what I want to do.
But I don't know if the Pre-amp or the digital converters are quite good or just awfull.
Are they better or not than the FireStudio from Presonus ?
Since I need at least 8 XLR inputs, the FireStudio seems to be a good choice (but without a remote control, I know...)
Is there someone who have an answer ?
Thanks
Vincent
PS : pardon my English, I'm desperatly French

I have a ProjectMix and I like it. There are others that I know that like it, and there are others that don't. I've actually gotten some really nice results at times with it along with my Tube Condenser and Ribbon mics when I need it. I also plug my electric guitar into it, and I like what I get from it. It's not my main interface, but when I do use it for recording, I haven't been disappointed with it.
jord

Looking for a professional Pre Amp.

I use a Shure KMS 32 for voice recording for music. I want a professional quality for the final mix. I tested the AVALON 737 and liked the sound but this pre amp is much too expensive. How do I go about looking for the right pre amp? Do you have any specific recommendations? I just need a single microphone, no gimmicks, just quality and hopefully something not too expensive.

>the E-MU which you refer to is the USB Box version. I use the PCI version. I'm not sure they're the same. What do you think?
The quoted specification figures were from the PCI version, which performs similarly to the Lynx II (although the Lynx has more facilities - but that's only a consideration if you actually want to use them). The newer USB version comfortably outperforms the Lynx. Apart from dealers who don't get much of a mark-up from them, I've never heard a single serious complaint about the 0404 from a quality point of view - and I know somebody with
seriously acute hearing who bought one and swears by it. You really don't want to believe dealers - they are only motivated by profit. It's almost worse than talking to manufacturer's reps about their kit!
The only comments I can offer from any degree of experience at all of the other preamps in the list is that by all accounts, the SPL GoldMics have a noticeably 'warm' sound - and with a mic that's already on the warm side, this might be a bit much. I personally wasn't that impressed with the Focusrites when I heard them, but that was under less than ideal conditions.
Since I only have any real interest in mic preamps that are neutral in character, it doesn't take too much to stop me even listening to quite a few - just adding the word 'character' without the 'neutral' to its description is enough to put me off, as a rule. But I would say in general that you get what you pay for, within reason - but you still have to be careful with some mic/pre combinations; if you are just going to buy the one, it's well worth making absolutely sure that the particular combination you end up with is reasonably compatible. You can get reasonably similar results from 'warm' mics with neutral preamps versus neutral mics with warmer ones. But, I have to say that if I was recording a female voice I'd pick the mic first and the preamp second, and it would probably be a warmer mic I'd use because of the relative lack of lower frequency output. With male voices, it's anybody's guess, as they are all different.
In general though, I'd say pick the mic for the vocalist, and use a preamp that tends towards the neutral - you tend to spend rather less time mucking about with the sound that way, simply because you have one less variable to consider.

Can I set the audio INPUT to my pre-amp, and audio OUTPUT to the built in?

I am using Logic Express 7. I want to set the audio input to my Firefox pre-amp, but set the audio output to my computer's built in speakers. I want to essentially record into the pre-amp and listen to the playback through my speakers. I can easily do this in GarageBand, but haven't found a way in Logic.

The remaining problem I'm having is when I record into an "Audio" track via my microphone which is plugged into the Firebox, I'm still only hearing the playback from the Firefox headphone jack, not the computer's built in speakers.
Did you select your new aggregate device in Logic's audio preferences? If so, then the problem is probably with your settings in the control panel which controls the Firebox - I don't use it, so I don't know what it's called, but it controls the routing and monitoring for the Firebox. Check the Firbox manual - there are probably two settings, one for playback and one for direct monitoring when tracking.

Joe Meek Twin Q Pre-Amp and Elite Pro SPDIF/Digital input probs

Hi. I'm wondering if anyone can help. I've just purchased a Joe Meek Twin Q Pre-Amp and I specifically bought it for a new Rode mic I've just got and it needed phantom power. I also paid a little extra for the digital 'outs', thinking I could take an optic or SPDIF out into the Elite Pro breakout box. The problem is, is that digital is not recognised at all - in Audio Codes it states it's an invalid signal. However, SPDIF is recognised saying it's a stereo signal at 48,000hz, but is only being 'heard' in my right channel.
I have tried the line out into Line In 3, and there's no problem there. Joe Meek representative said it should be working as long as the bit match is the same in both units, which as far as I know is. Am I missing something here? I'm awaiting Creative to get back as it seems to me to be a breakout-box hardware problem, but I could be missing something?
Does anyone have any experience and/or advice/info?
Thanks in advance

Well, since you're not getting response, let me see what I can do.
I think you're saying the optical connection isn't working, but the coax (SPDIF) one is working, and then you're only getting the mic signal on one channel. The second part is easy to explain, but I never remember the solution suggestions. TOSLink/SPDIF, essentially, are stereo signals, and your preamp is simply putting its channel 1 signal on one side and its channel 2 signal on the other. If you had a second mic connected to the other connector, you'd have one mic on the left channel and the other on the right channel. Basically, you need to treat it as a mono signal and then either pan it into the stereo field, or just duplicate (convert) it to stereo. I'm sure there are ways, but someone else needs to join in with some experience. I'm not sure, but it seems to me if, say, you've put the mic in the channel 1 connector, you could take the channel 1 (analog) output and patch it into the channel 2 line input, and your digital outputs would probably get you the mic signal on both sides.
On both devices, the TOSLink/SPDIF signals are, to the best of my understanding, basically the same thing in two forms. If one is working, than the other should be working too. That suggests to me either hardware brokenness in the preamp's optical out, or the Elite Pro's optical in. or a problem with the optical cable. CL's optical outs can be checked to see if they are putting out red light: if they aren't, there's a problem. That probably applies to the preamp, in this case. You can simply connect the Elite Pro's optical output to its optical input and record something from the digital input device. If that works, the cable and the digital input are probably OK, and it most likely the preamp's digital output is broken (although it could be a strange compatibility issue). If it fails, then it's most likely either a bad cable, or the Elite Pro's optical input is broken. Trying another cable, or some other piece of gear you have that outputs optical, ought to sort out which it is.
-Dave
[email protected]

Logic pro and pre amps

I'm using Logic Pro with M audio Firewire 410 and a M57 microphone. Does anyone have suggestions about what pre amps in the lower price range are good. I'm primarily recording oboe and flute. And do I need one and if so, why?
Thanks

oboeguy wrote:
I'm using Logic Pro with M audio Firewire 410 and a M57 microphone. Does anyone have suggestions about what pre amps in the lower price range are good. I'm primarily recording oboe and flute. And do I need one and if so, why?
Thanks
If you are going to make serious records, put your pants on, and go:
http://www.rupertneve.com/
http://www.telefunkenusa.com/
If, on the other hand, you are just playing around, then buy nothing.
Cheers

Pre-amp and mic recommendation

for a while now I've been recording vocals from my condenser mic directly into the pre-amp on my presonus firebox. im told that in many cases, to get the best out of your mic, it's not necessarily the quality of the mic but the quality of the pre-amp. i spoke to someone earlier who mentioned that the pre-amp on my firebox probably isnt the best for direct mic input. he said i would definately benefit from some sort of pre-amp between my mic and my firebox.
can anyone recommend a good, affordable pre-amp for the home studio? better yet, can someone confirm what ive been told?
also considering getting a new mic altogether... im eyeballing the SE electronics z3300a multi-pattern mic. any vouchers or recommendations for good mics in the home studio? I'll be bumping up from an unimpressive m-audio nova condenser mic.
thanks!

hey fellas---
thanks for the replies. to answer some of the overriding questions:
budget: I'd probobly like to keep in in the range of a few hundred dollars, no more than a grand. if i can get a better sound out of my existing mic by getting a decent pre, that'd be ideal. if i need to upgrade mics, that might take time. still, trying to keep it around $500-$800.
application: EVERYTHING. anything from male vocals to voiceover work to film ADR to acoustic guitars. everything EXCEPT drums. wont be doing any drum or percussion micing anytime soon. lots of acoustic instruments like guitar and solo violin. might also, if its doable, run electric guitar and bass through the pre-amp if that will help with my electric guitar signal (like i said with the mic, the e-guitar is going straight into the instrument input on the presonus firebox, nothing between to sweeten, warm, or strengthen the signal consistently).
preference: a clean, dry sound with faithful reproduction. but to be honest, i wouldnt mind a little warm colouring. something with a stronger bass response, but still accurate and faithful mids and highs.
its been suggested to me that i stick with solid state mics for now, but a tube pre-amp wouldn't hurt. I've got a tube preamp, but im not happy with it so i havent used it in ages (the ART Tube MP Studio V3)
Thanks!

Distorted Sound Due To Pre-Amp To High

Does anyone have any further information on the unresolved problem of the pre-amp level being too high resulting in EQ settings with high base (such as R&B) causing distorted sound?
Please see this old thread that was never resolved to see what I mean:
http://discussions.apple.com/message.jspa?messageID=2259598

I was able to find a solution...if you go to http://h10025.www1.hp.com/ewfrf/wc/prodTopCategory?cc=us&dlc=en&lang=en&lc=en&product=18703&dest_pag...
Choose your exact system (you can also access this from your support assistant by going to find help and choosing access online resources for your PC) - then choose software and driver downloads - choose your operating system - Choose driver/audio and pick one. I chose the one from 2012-8-13. Save it the download to your desktop and run it.
WMP, quicktime, & itunes are all working again. The performance issues have also abated. Good Luck and best regards!

Can I install Snow Leopard on the latest Macbook Pros? (the ones pre-loaded with Lion)

The problem and solution is pretty simple, I just want to know if anyone has tried this before. I have a brand new Macbook Pro that I bought more or less for the sole purpose of having a more powerful machine to run AVID Media Composer on. AVID is only compatible up to OS version 10.6.7 at the moment, and the machine I got was pre-loaded with Lion, 10.7....So I look at the support documentation Apple provides, and notice that in the nifty little chart they have, the latest line of Macbook Pros out there (early 2011) originally had version 10.6.6, so I'm assuming that's the previous version I can't downgrade past.
To revert back to Snow Leopard, however, I need to install it from the DVD which has version 10.6.3 on it, and then upgrade to any version between Snow Leopard 10.6.6 and Lion 10.7. In theory this could work, the only problem being that for a brief time between installing Snow Leopard and updating to the version of it that I need, the computer will have version 10.6.3 on it.
Now I'm pretty sure if the only thing I do on the computer is immediately update to a safe-to-use version, there will be no problems. However, if the machine's hardware is so terribly non-backwards compatible with the Snow Leopard OS, I may do all this backing up and reverting and not even be able to start the computer once I get the old install on it. Before I just go ahead and try this for myself, I was wondering if anyone else has, and more importantly, have you had any success?

Hi r,
EDIT: disregard my post. Waiting for that disc is a far better option.
I hope w won't mind if I add a thought here:
rmo348 wrote:
Now I don't mind if some drivers are messed up and resolution is all funky when I install 10.6.3 on it, I just need to know if it'll be functional to the point where I can run the 10.6.6 update dmg. Once I update to 10.6.6 everything should work fine.
Or could I install 10.6.3, have the 10.6.6 update burned to a disc, and boot straight from that? This is my first Mac so I'm not sure what little tricks work or not.
Your first idea may work; the only way to know for sure is to try it. If you do, make sure you download and run the Combo update for 10.6.7 or 10.6.8. There can be different versions of a point update, those which are available for download, and those which ship on Macs, so you want to install one beyond that which shipped with some of the new MBPs.
If the MBP won't boot to 10.6.3, something else to try is installing it to an external HD, then installing the 10.6.7 update on it, clone it to the MPB's internal HD, and run the 10.6.7 or 10.6.8 Combo update on it.

Pre-Amp with MS-2?

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