Niccolo

Wow! There is plenty of interesting articles on your website! Almost all the things I wanted to know on audio! Thanks a lot!

Yes, that's exactly the problem. The science behind is is called "gain structure" and, in short, it means that the output level of a source is reasonably matched to its destination. You have the knobs set correctly, but the input that you're using for the Focusrite output doesn't have enough gain to get the output to the speaker up to the level that you want it. There's an article on Gain Structure on my web site that you might want to peruse. Looking at the specs for the Scarlett 2i4, I see that the maximum output using the unbalanced outputs (TS cable) is pretty wimpy. If you used Outputs 1 and 2 with a TRS cable, if your mixer inputs are balanced, you'll get a few more dB out of it. , No, you're connecting it correctly, though as I said, if your mixer's line inputs are TRS, try swapping out the cable. The Scarlett is a good interface, but it's one where they cut costs and not providing "pro" output level is one way to do it. I had a similar Behringer interface and was annoyed with its low output level (for the same reason as the Focusrite). When I wanted a 4-input interface, I chose a TASCAM US4x4HR, and one reason for my choice was the proper output level. You might want to take a look at it. As far as the difference between USB3 and USB2, at the number of channels you're working with, USB2 is fine, though I think that you'll find that most interfaces on today's market have USB3 or USBC. If you were doing 48 chanels at 96 kHz you'd want USB3, but at standard sample rates (44.1, 48 kHz) USB2 is fine. The best part about knowing this is that if your computer doesn't have USB3 ports, you can use USB 2 comfortably. The connector is the same, and most that have USB-C include a cable to go between that and USB 2/3. Hi Mike, thanks for the reply and the useful information. I'll surely go and check your article on Gain Structure. In the meantime, I'll try the balanced cable to see if I get some more signal. But I'll definitely buy a new interface sooner or later. I am evaluating some of them like Motu M2, Presonus Studio 26c, SSL2+, Steinberg UR24c... I forgot to mention but I have the Steinberg UR24, not sure if it's a "c" or not. I like it, a solid piece of gear. Comes with some nice software if you buy new (I didn't). The best feature is the ability to blend the input signal with the playback from the computer - this eliminates latency from the player's point of view, it's very effective and useful. The others you mention should be great as well, surf the reviews and chose carefully! I sort of wish I'd gotten the upgraded Steinberg with Neve transformers, just thought I'd mention it. The Steinberg UR24 is in the first position in my wishlist. Glad to know that you are satisfied with that.

Yes, that's exactly the problem. The science behind is is called "gain structure" and, in short, it means that the output level of a source is reasonably matched to its destination. You have the knobs set correctly, but the input that you're using for the Focusrite output doesn't have enough gain to get the output to the speaker up to the level that you want it. There's an article on Gain Structure on my web site that you might want to peruse. Looking at the specs for the Scarlett 2i4, I see that the maximum output using the unbalanced outputs (TS cable) is pretty wimpy. If you used Outputs 1 and 2 with a TRS cable, if your mixer inputs are balanced, you'll get a few more dB out of it. , No, you're connecting it correctly, though as I said, if your mixer's line inputs are TRS, try swapping out the cable. The Scarlett is a good interface, but it's one where they cut costs and not providing "pro" output level is one way to do it. I had a similar Behringer interface and was annoyed with its low output level (for the same reason as the Focusrite). When I wanted a 4-input interface, I chose a TASCAM US4x4HR, and one reason for my choice was the proper output level. You might want to take a look at it. As far as the difference between USB3 and USB2, at the number of channels you're working with, USB2 is fine, though I think that you'll find that most interfaces on today's market have USB3 or USBC. If you were doing 48 chanels at 96 kHz you'd want USB3, but at standard sample rates (44.1, 48 kHz) USB2 is fine. The best part about knowing this is that if your computer doesn't have USB3 ports, you can use USB 2 comfortably. The connector is the same, and most that have USB-C include a cable to go between that and USB 2/3. Hi Mike, thanks for the reply and the useful information. I'll surely go and check your article on Gain Structure. In the meantime, I'll try the balanced cable to see if I get some more signal. But I'll definitely buy a new interface sooner or later. I am evaluating some of them like Motu M2, Presonus Studio 26c, SSL2+, Steinberg UR24c...

Hi KuruPrionz, thanks for the reply, Actually, 2 channels will be enough for what I am doing. As I said, my main use is for live gigs as an output for MainStage. In my home studio (more "home" than "studio"!), I don't plan to connect more than one mic and one guitar simultaneously.

Hi everybody! I am looking for advice concerning the purchase of a new audio interface. At present I own a 2014 Focusrite Scarlett 2i4 (I suppose it is a 1st generation 2i4), which is connected to a mid 2012 MacBook pro. I use it as an input/output for my two keyboards: a digital piano (Yamaha P45) connected via USB to the MacBook and a Arturia keylab 61 MKII connected via MIDI to the Focusrite. As a software I am using MainStage 3.5, since I mainly perform live gigs, but I sometimes record music in my home studio with Logic Pro X, so I use also the two mic/line inputs for voice and guitar. The Scarlett 2i4 has not done a bad job so far, but my main concern about it is the apparently insufficient output signal. Unfortunately I am not (yet) a super expert in audio theoretical concepts, so I will try to explain the problem with simple words: it seems like the interface is not loud enough. When on stage, I usually connect the audio interface to the mixer through a TS jack cable, set the Monitor knob to "max" and the direct monitor knob all to "Playback" side (I still have this last point not so clear...). Although the Monitor knob is set to max (the master level in MainStage is at 0 dB), it seems that the signal arriving at the mixer is weak. Is the so-called "Maximum Output Level" responsible for this? So, first of all, I would like to know if I am making some mistake connecting or setting the interface that results in a weak output signal. Secondly, since in any case I would like to upgrade my audio interface, I would ask for an advice for the purchase. The main features should be: USB connection (is USB3 significantly better than USB2?), 2 line/mic inputs and 2 outputs, MIDI 5-pin I/O sockets. Furthermore, the new interface should be generally better and possibly louder than the Scarlett 2i4 I currently own. Any advice will be appreciated thank you and best regards Niccolò

I would like to thank all of you for the kind comments and advice. I was greatly relieved to find out that I am going the right way!

SteveUK thanks for the reply. Happy to know that it's a sound setup. I have read that aliases are all linked to the virtual instrument instance and that one change affects all the other. That shouldn't be a big issue, since I have all the parameters set before the gig and during the performance little or nothing is changed (volume sometimes, so I'll have to cope with that).

Hi everybody, I would like to submit an idea I came up with to organize Concerts/Sets/Patches in Mainstage. I don"t know if it makes sense and since I am not a pro Mainstage user, I would like to receive comments from advanced users. I play 2 MIDI Master Keyboards, an 88 keys (Studiologic Numa Compact 2X) and a 61 keys (Arturia Keylab 61 MkII). They both are connected to a MacBook Pro via USB. Output is managed by a Focusrite 2i4 audio interface. First I"d like to explain how I am currently using Mainstage: Since a couple of years, I use the same set up for Mainstage because I literally had no time to delve into this application (and I am not sure I am using it at best). That"s the set up: say I have to perform 10 songs in a gig, I create a Concert file, set up the two keyboards with knobs, faders and other controls in the Layout area, then I create 10 patches in the Edit area, one for each song to be played. Each patch has one or more virtual instruments that will be played during that song (usually 2 but sometimes up to 5, some of them layered), as channel strips assigned to one or both master keyboards. So, if, for example, in 5 of the 10 songs, I play Grand Piano, I have to create 5 Grand Piano virtual instruments channel strips in the corresponding patches. Now that gigs are not allowed due to covid, I have a lot of time to study Mainstage, and one of the first thing I stumbled on, was an article listing all the CPU-saving settings for Mainstage. One of them was the usage of the so-called 'aliases', that is a virtual instrument is replicated n times in a concert not as n instances but as 1 instance and n-1 links. That was an amazing discovery! So, I got to this idea for a new setup (and sorry for the long post, but I had to explain where I was coming fromâ¦). The Concert file should be organized as follows: Say I have to play 30 songs, using 15 different virtual instruments, some of them repeated in more than one song. - I create a Set, which I call "Instruments" containing all the 15 virtual instruments organized as 15 patches each with a single channel strip. This way I have a unique place where I can manage the virtual instruments settings (effects, parameters, etc.); - then I create 30 patches for the 30 songs to be played and in each patch I add the aliases channel strips corresponding to the virtual instruments played in that particular song. Do you think this setting can give some benefit in terms of CPU/memory usage or overall organization? Did I discover America?? How do you generally set up Mainstage for your gigs? Thank you in advance for your help and comments! Niccolò

I am not really concerned about the age of the instrument, as long as it is well built. I am rather interested in the keypad quality (I would use it for live gigs) and key dimensions. Unfortunately, the nearest shops don't have the AKAI and the Arturia available, so I have to rely on reviews and other user advices. The AKAI MPK261 is sold as full-sized keys, but I have read that its keys aren't really full-size. Arturia keylab Mk2 are bigger?

Interested in the subject since I am also looking for a 61 keys MIDI controller. I have read lots of good reviews of the AKAI Professional MPK261, but I have not seen it mentioned here. How does it compare with the Arturia Keylab MKII 61 in your opinion?

Yes. If you don't want to plug headphones in, page 6 in the NC2x's Global Edit menu has an option for turning internal speakers on or off. Good point! I didn't check the manual. Thank you

Just guessing but you could always try plugging in some headphones. You don't have to wear them. Yes, that makes sense! Thank you!

Concerning the Numa Compact 2, I noticed it has internal speakers. Is there a way to exclude them when the piano is connected to an audio interface or mixer/speakers? Thanks

Thanks again GianfrixMG. I'll check the chart and video you mentioned.

GianfrixMG thank you very much for the suggestion. The Numa Compact 2 is very very nice! The 2+ is a bit over my budget limit, but the NC2 could be an interesting solution. Do you know if the commands (knobs, joysticks and buttons) can be mapped in a DAW (i.e. MainStage)?