Loopy Pro: Create music, your way.
What is Loopy Pro? — Loopy Pro is a powerful, flexible, and intuitive live looper, sampler, clip launcher and DAW for iPhone and iPad. At its core, it allows you to record and layer sounds in real-time to create complex musical arrangements. But it doesn’t stop there—Loopy Pro offers advanced tools to customize your workflow, build dynamic performance setups, and create a seamless connection between instruments, effects, and external gear.
Use it for live looping, sequencing, arranging, mixing, and much more. Whether you're a live performer, a producer, or just experimenting with sound, Loopy Pro helps you take control of your creative process.
Download on the App StoreLoopy Pro is your all-in-one musical toolkit. Try it for free today.
compression before the interface?
I play flamenco guitar, which means I might be playing something delicate one moment and beating the **** out of the face of the guitar in the next moment. It's a huge dynamic range and I remember struggling to get a good sound when I was recording years ago.
If I have a limiter/compression on the software side, how do people handle clipping on the physical input side? Obviously, I could turn down the input volume but that degrades the quality of the delicate sounds, right?.
Do you guys use a hardware limiter/compressor before the interface or is turning down the input gain and doing the rest with software effective?
I'm using a MOTU M2 and will soon have a AKG P170 condenser. I've made no decisions on compressor apps as there are so many choices. Recommendations appreciated.
Comments
I play with fingerstyle only on guitar. Even on an electric, the dynamic range is too much without compression. On my electrics when I DI into the interface, I use an Engl tube pre before the interface. I do this even when I'm not trying to get distortion out of the analog side. I would think that your playing dynamic range is greater than mine is. A good mic pre and compressor is going to help if you can get an input chain that you are happy with.
On the other hand, the bit depth of the A/D converters on the M2 is high enough that you can actually turn down the input gain to capture a much higher dynamic range at good quality than you could with older converters. I'd try going doing DI with the interface and turn it down and then check the results to see if you are happy with it before putting the money into analog pres and compressors.
With 24-bit recording you do not need to record super HOT (ie. very close to 0db) as you'll most likely clip sooner or later.
There's too many discussion on-line where the optimal input level should be, some say -18, some say between -12 to -6 and some say -3. I'd say instead of focusing too much on the numbers let your ears be the judge and take into account how dynamic the performance is. It's better to be on the safe side rather than risk clipping.
If the volume in the headphones / speakers is too low it's better to increase the playback volume rather than increase the gain on the pre-amps and risk clipping the recording.
The MOTU M2 is a pretty quiet interface so even if you record at lower levels the noise-floor is way down...
Good Luck!
Thanks for the input. I can't remember what interface I was using back in 2008 (was a band-mate's) but it was the basic Pro-Tools package that everyone seemed to have back then.
Remember that if you're using 24 bit A/D converters, you can record 256 times quieter and still have the same dynamic range as with 16 bit converters... so, essentially you can record what looks like a flat line and still have enough dynamic range to work with in software.
Jeez, I did not know this.
I knew the range was more, but not that much more.
My field recorder does 24bit, but I have been relying on its auto-level and recording 16 bit.
Time to go 24 bit and turn off that annoying auto-level.
Yeah, I didn't know that either. Good info.
@CracklePot @Sabicas of course this doesn't take into account the noise of the A/D electronics and it also depends on where exactly the gain is located in the signal chain, etc... it's a theoretical number. A 24 bit A/D is not 256 times quieter (noise-wise) than a 16 bit A/D...
Yes, I think I understand.
I will try it out, with that in mind.
I usually use Brusfri to clean up noise and that live air hiss.
I am hoping this will help stabilize the levels in my recordings. I always get lame volume drops at the beginning of loud sounds as the auto-level kicks in.
That will make a difference especially when you start to adjust the levels of the recorded material...
...at least the difference is really noticeable on my ancient Zoom H1 and even on the UR-242 I don't record super hot (If I cough straight into the mic (SM58) at full force I peak around -3db and for regular speech In average around -20 which some consider too low but at that level the noise floor is around -100db so I can safely boost it up in post...
So yeah, I think it's best to use the ears and not focus too much on the numbers.
Only downside of recording at lower levels on handheld recorders is that the headphone amps are quite weak...
Cheers!
This is good info for me especially.
My field recorder is also an ancient Zoom H1.
Thanks @Samu
😊
On the Motu, is it always 24-bit or is that something I have to configure in the DAW/AUM? The online specs say "up to 24-bit", suggesting it could be set to 16-bit.
Both the sample-rate and bit-depth is usually set in the recording software.
When ever possible use 24-bit.
I have a similar situation with my vocals I use a RNC 1776 compressor on the way in.
https://www.fmraudio.com/rnc.html
@Samu I set my input to 24-bit and dialed it in. You are correct, I was able to get a good dynamic recording without any clipping. I basically just turned the physical gain knob until I heard a little ambient noise then backed off. I applied a little compression on the built-in Auria channelstrip and everything is good. This is far easier to get right than it was way back when.