Spinal Tap's Nigel Tufnell explains why the RME Babyface Pro FS needs to go up to 11!

Most but powered audio interfaces offer 60dB of gain or maybe less. But when you need that push over the cliff you need more gain, you need to turn it up to 11!. RME's Babyface Pro FS offers 65dB of gain from a bus powered box. But what does that sound like compared to the original Babyfaces's 60dB or the 58dB of an Audient EVO4
00:27 Nigel explains Spinal Tap's secret
01:00 Audient EVO4
01:13 RME Babyface original
01:20 RME Babyface PRO FS
01:50 SM7B with 58 dB of gain (= EVO4)
02:15 SM7B audio calibration with 58 dB of gain (= EVO4)
02:35 SM7B with 60 dB of gain (= Babyface original)
02:50 SM7B audio calibration with 60 dB of gain (= Babyface original)
03:10 SM7B with 65 dB of gain, Babyface PROFS
03.25 Audio Calibration 65dB, 60dB and 58 dB compared

[@realmalteherwig]

Such a great channel, I keep coming back to it!

[@ppmtv-qh9qk]

That's very kind of you. Thanks for dropping by. Ta like, ppm6.

[@davidsillars3181]

Oh heck yes. Tone used to be part of my daily routine! Brings back memories. Was it peak 4.5 we aimed for? Great to see the legend Nigel Tufnell here. 😂

[@ppmtv-qh9qk]

Hi David, happy ppm memories. Line up was ppm 4, peak programme was ppm 6 but you could let a 6 and a half or maybe just a 7 go through momentarily. The difference between the 'numbers' is 4 dB so line up at 4 was 8 dB down on each leg from ppm 6. Ah, those were the days. Wooden ships and iron men and women. Ta like, ppm6.

[@hughs591]

Don't forget the BBC's stereo line up practise of PPM 3.25 on each leg! @@ppmtv-qh9qk

[@ppmtv-qh9qk]

Hugh, your memory is better than mine. Yes we had -3dB in the mono sum so instead of +6dB when you mono the totally in phase tone you got +3dB which was meant to more realistically mirror programme material. But I have it in mind that in commercial radio (and maybe TV) they had -6dB in the mono so that A=B=M. Or am I just making that up? And then when we went digital we lined up at -18dB fs and so gave away quite a few bits! No ppms now I don't suppose!

[@hughs591]

Yup, for stereo at the BBC you lined up the left and right (red and green) PPM needles to 3 1/4 and the M then read because it was padded down by 3dB. ITV always used A+B -6 so all the needles sat at PPM 4 on line up tone. Easier for everyone to get right but the BBC method produced a truer picture of stereo levels. All long ago!@@ppmtv-qh9qk

[@ppmtv-qh9qk]

Hey Hugh - I thought you ITV guys used VUs ;)

[@ДжонСнежный]

Hello 👋 I noticed that you have beyerdynamic dt 1990 pro. I want buy them too and use with babyface pro fs. Is it ok? Babyface pro fs can amp them? And what you think about headphones with 300-600ohm impedance? Does babyface pro fs can run them good way?

[@ppmtv-qh9qk]

Hi - I am cautious about advice in terms of 'is it loud enough?' simply because that depends on what you are doing. When mixing sports commentary in the old National Stadium we used Pioneer 8 ohm headphones and when the Radio 1 DJ's came to town we drove the 8 Ohm headphones with HH 50 watt power amps! I have the 1990s on now and the Babyface drives them comfortably loud enough for me. At 250 Ohms the 1990s are the highest impedance headphones I have so I'm afraid I can't help you there. Thanks for dropping by. Ta like, ppm6

[@hughs591]

Ah, empirical methods, often the best! I’m intrigued that these USB powered devices can deliver so much gain, but how do they handle wide dynamic range? For several years I sat behind a little Trident desk on an OB truck and its inadequateness in that regard was an absolute pain. Audience shows were a particular challenge, constantly winding the preset (not the fader) up and down to avoid distortion . . .

[@ppmtv-qh9qk]

Thanks Hugh, forgive an old story but we had Calrec in C2 back in days of yore and one of the aged supervisors told the story of the terror of being in a VT countdown and then glancing at the desk to see the gain on the VT channel set to 'Mic' rather than line. With no time to do anything else, he opens the fader half an inch and the massive headroom of the Calrec copes with the potential overload without breaking sweat. And it had quadrant faders! I have to say I'm surprised at your Trident story - I thought they were good gear. In radio our GP MK4 desks had 10dB click stops on the trim and then a variable fine adjust - so if you needed to change by more than 10dB you were in for a big 'bump'! Ta like ppm6.

[@hughs591]

Ah yes, capable Calrecs. You're right about Trident desks, generally excellent and then OB sound supervisor had used a big one a couple of times on a hired in sound mobile and was thus keen on the brand. But this was a very small one, I can't remember the model number however I think it was from a more economical range which wasn't around for long. Indeed it was so cheap that two rack mounted Trident parametrics could be afforded within the budget. This was popular with the crew chief and the sound supervisor as they hoped the eq's could filter out generator noise and allow closer working to the truck when its inbuilt power supply was running. It didn't work! When I took over the OB sound job I quickly made myself unpopular by grumbling about a number of things, including the Trident. In the end it was replaced with an Amek BCII, a much better and more capable desk . . . NB, I also remember the GP desks and their "coarse" gain controls, the Mk4's were just coming in when I left the Beeb. Best wishes @@ppmtv-qh9qk

[@ppmtv-qh9qk]

Our GP desks were Amek - I think you could also get Calrec versions but we didn't have them. Probably a bit older than your BCII - did Soundcraft make a version of that? I didn't love the Amek's because of their click stop gain and also the compressors were terrible. I laugh when I see them bundled into rack systems and being described as 'classics'. I think our OB trucks mostly had Calrec in the big ones and Glensound in the smaller radio vehicles. Now there's a Studer Vista in the van - but Studer have been sold to some US or Canadian outfit. Changed days.

[@hughs591]

I think your GPs were probably by Audix. Neve, Calrec, and Audix all manufactured the GP desks, and most of the London ones were Audix or Calrec. I never came across Amek mixer until I worked on a truck which had one, an Amek Classic. Possibly the vehicle was from Chrysalis. NB, if the GP stuff is wrong apologies and remember, as one of our directors used to say, nobody likes a smart arse!" @@ppmtv-qh9qk

[@ppmtv-qh9qk]

Your memory is better than mine again Hugh, forgive me Amek it was Audix. What was I thinking! I wonder if the Calrec's were identical? Did you get a go on one? And, was the Amek Classic any good? Ta like, ppm6.