#11

I didn’t notice this kind of behaviour, thought it was just analogue pot with hiss increasing as you crank the gain.

I mean you never notice it, it’s not like ridiculously bad or anything just a shame since everything else about the unit is pretty much perfect. Come to think of it why the hell didn’t I ship that beast over here with the rest of my stuff!?

#12

Put a mixer in front of this: http://www.cymaticaudio.com/products/recorders-players/live-recorder-lr16

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#13

I had looked into this as well some time ago and decided that nothing worked for me. The Cymatic Audio LR-16 was still the most interesting of the bunch, but keep in mind that it’s intended to be plugged into the insert jacks on a mixer and hence it doesn’t really have any volume control for the channels on board (just pads). If your mixer offers the right connections, then that should be exactly what you’re after though!

#14

I’m playing the role of grumpy cat in this thread!

The problem with lr16 is that now I need another set of cables - and a mixer with inserts (or, ick, a set of Y adapaters)…

… Actually, reading the description - that might work! It puts out a stereo mix. Since each of us playing has a volume control from our audio interfaces - we don’t really need mixer faders beyond getting the basic mix right… and you can do that on the lr16 with some menu diving… If only they had a small remote program that ran over the computer USB connection (while it was recording to the other USB connection).

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#15

This is pricey, but appealing (at least to me):

https://proav.roland.com/global/products/r-88/

#16

I’ve been getting good mileage out of my Korg D888 for about five years now. I initially had some trouble with incorporating modular gear but once I got something to bump those signals down it’s been very happy. Have recorded solo stuff, a five-piece band, plenty of overdubs directly on. Handles virtual/alternate tracks well.

http://www.soundonsound.com/reviews/korg-d888

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#17

http://www.allen-heath.com/ahproducts/qu-pac/

I’ve been using this for over a year and I love it.

#18

Summary so far:

  1. There are the whole range of of devices made for location video shooting: While wonderfully rugged and compact - they are very “mic” centric, and loads of things related to just video - and are very expensive.
  • paying too much for more than I need, and not quite suited to music on stage
  1. There are some older, now years out of production, larger port-a-studio descendants that would work - but generally not made for being all that portable.
  • closer in application, but bigger, and not really made for gigging
  1. There are some high-end mixers that do multi-track record, but they are big to haul about and do much more (I’m not running sound at a venue, I’m trying to record the ensemble’s audio from the stage.) There are some more compact versions (Qu-Pac, XR12/16) which are seem like the next step up were we need more/play more/run more of our live sound more. Seem pricey for what I need.
  • sweet and tempting, but way more than I need

4a) There is the Cymatic (and there is an AH thing like it) that just records. These have monitor mixes that could be used to drive the house - but the UI is pretty poor for that application - and many people complain the metering is the pits. Also, oddly these things can only record 2-, 4-, 8-, or 16- tracks. You can’t choose which inputs to record, or which are stereo pairs. UI from 1980s anyone?

4b) There is getting a multi-channel audio interface and recording on the computer. This is much like the option above. While the UI will be better - there is now a computer involved: either another, or one of our performance computers doing double duty.

  • while the recording will be a snap… the whole solution with mixing to the house looks like a hassle
  1. I found this: QSC TouchMix-8 (and -16). This seems about right. The reviews seem split: Those that are running live sound at a venue seem to don’t like it because of the UI and or “it ain’t as good as my ol’analog board”. Small acts, seem to like quite a bit. Small downsides: only 4 inputs have 1/4" jacks - the doc isn’t clear if the mic preamps can be bypassed on the others - the remote app is iOS only.

  • maybe just thing thing?

Update: QSC has a Android versions of their apps now. The QSC forums (with very active participation from QSC techs, a good sign) have confirmed all the inputs can take line level as well.

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#19

Out of curiosity, where did the 12 come from in the original channel constraint?

#20

Three of us, each running a stereo pair from our audio interfaces: 6 channels.
Occasionally we play with others, and 6 people (for what we do) has shown to be the limit… so 12 channels total.

But really, we need 6 regularly, and a little room for flexibility seems smart… But by no means do we need 20+ channels or the like.

#21

Until someone builds a dedicated box for this, you could provably solve the problem with an old Motu 828 USB and a raspi with a few buttons tacked to the top of it (record, stop)

(I was brainstorming building a similar concept about 9 months ago, but completely lost focus on it - couldn’t pin down a simple feature set without ballooning into “what if it did…”, so I’ve put it on hold for a while. It’s interesting to hear specific needs around the same space though)

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#22

that would be a total dealbreaker for me. anything that is bound to iOS has the words “planned obsolescence” written on in un cubital letters

#23

Good news: They’ve put out an Android app! https://www.qsc.com/resources/software-and-firmware/touchmix/

#24

Then there’s this beast:

http://line6.com/stagescape-m20d/

The hardware looks very nice, but I not sure if I’m willing to fall quite so far into that looking glass…!

#25

i’ve been considering putting together a r-pi one-touch always-on recorder that hides somewhere in the studio.

making a multi-chan version that takes direct-outs from an old mackie mixer, that’d be the thing right?

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#26

I need this two channel always on recorder hiding in my studio.

I would like to attach a very large hard drive to it and then basically forget about it.

Which makes me think it would be neat if it detected extended silences and paused recording, but kept a record buffer running, so that as soon as sound re-enters, recording resumes without missing a ms of the action.

Would need to split files now and then to keep things usable. timestamped file naming.

OK, I have officially expanded the scope. My aversion to hitting “record” is not necessarily in need of a complex technical solution, so please feel free to ignore that bit about silence detection and pre-record buffer… a big red button connected to a big hard drive would be quite useful.

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#27

i keep an iOS device and a scarlett 6i6 patched to the outputs of my small studio mixer - takes up very little space and is always on, ready to record. i like the app “AUM” for it’s clean signal routing UI and basic recording features.

#28

If the aim were to have something in my studio… I’d have plenty of options - many mentioned here.

The difficulty is rehearsals and gigging: I’ve got to be in some arbitrary space, get the equipment there and set up with many more time / packing / space / logistics constraints. It’s a hard précis to fulfill: rugged, but small, simple, but flexible, foolproof, good quality, enough features to not need additional gear, but not so many as to make it big or overly complex.

If I had to put together a spec set (in signal flow):

Input

  • 12 channels. 8 of these could treated as stereo pairs throughout the pathway. Or even all 12! Don’t have much mono. 16 channels if you’re feeling generous.
  • 1/4" inputs - TRS inputs for the stereo pairs would be acceptable if saving space helped.
  • Input gain trim: Everything feeding this box is going to have a volume control on it (audio interfaces, synths) - Perhaps just declare “gimme line level” and be done. Perhaps just s +4/-10 switch.
  • Input, post gain (if any) metering: simple, but not minimal: I need to know that I’m recording a healthy enough signal - and that I’m no wheres near gonna ever clip. So three small leds each?

Recording

  • Need to be able to enable/disable inputs for recording (so there might be an input which is played to the mix, but not recorded - or an input just not used)
  • Files: stereo pairs should be stereo files. mono should be mono. What if you want to gang two mono inputs as stereo? dunno… maybe this is an argument for just having stereo pair inputs!
  • 44.1kHz / 48kHz and 16bit / 24bit – only choices needed. Actually, I’ll only choose 44.1k & 24 bit.
  • USB stick? USB drive? - widest range of options… but I don’t want to lug the damn drive around as a separate thing.
  • SDcard? not as many options, but very convenient.
  • I love this “on, rolling buffer, silence greater than 10 sec. gets chopped, and a new file started” thing… but also good with press record… new file set.
  • Stopping should take two buttons: shift + rec or some such - stop button or ‘press rec again’ is to easy to do accidentally in a small gig
  • Playback is nice, because you can playback a previous recording to set house levels without having everyone standing there. Also nice to “know you got it” - but ultimately not important: I never play back on my zoom recorders.

The Mix

  • Generally, we are going to record everything an nice hot levels - but the mix to the house needs some tweaking. Part of me says, nope - you got a volume knob on your synth / interface - use it. And just sound check at hottest levels, record at 24 bit so you don’t care, and turn down what you’re sending to make the mix right.
  • But that may not be practical? So a volume setting per input channel (mono or pair as above). What is this? a fader? a small fader (like those ones on buchlas)? a knob? sure… pick one. control per channel please. Okay, you want to get whacky? put WiFi on this thing and control it by MIDI over IP… then I can do it from my gear stand.
  • Mutes? maybe? can these done by doing double duty with the rec. enable mechanism so fewer buttons?
  • Optional: offer an independent monitor mix…but maybe we’re getting too fancy. certainly at two or more aux mixes, there are mixers aplenty on the market to handle those situations.

Outputs

  • Main stereo outs on two sets of jacks: balanced XLR, and 1/4". Same thing, both outputs. Let’s you have an easy stage monitor. or not worry about having the right adapter.
  • Metering on the main mix output. Need to see that we’re sending good signal
  • Optional: headphone out with same mix - and separate volume control. Just as a way of checking things before they turn you up!

Physical

  • small metal box
  • if controls (faders, knobs) were recessed, then all the better - or rails to protect 'em - I just want to throw this in my gear bag!
  • power needs to not have the chance of falling out: if standard DC barrel connector, then please the little wings on the side that let you wrap the cord so that tugging the cord doesn’t tug the barrel out.
#29

there you have it :slight_smile: https://sourceforge.net/p/qjackrcd/home/Home/
(maybe http://plugin.org.uk/timemachine/ is more interesting. It has configurable buffer, timestamp, start/stop thresholds… )

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#30

So, spotted 2 new 4ms modules at Moogfest: a 4channel mixer with headphone, stereo line out, level and panning in 10hp; a companion WAV recorder that handles 24/96 in stereo on a front panel accessible SD in about 6-8hp. Will record for 6 hours and can use large SD cards for multiple recordings.

I’ll take a picture if I make it back in to the modular shop.

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