Wiring Up The RME M-32

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RME M-32DA: www.rme-audio.de/m-32-m-16-da...
RME HDSPe MADI: www.rme-audio.de/hdspe-madi.html
Cakewalk by Bandlab DAW: www.bandlab.com/products/cake...
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BACKGROUND:
• Produced & Mixed/Mastered over 4500 tracks totaling in millions of plays
• 21 years in the music industry
• Created music and appeared on major TV networks including, MTV, VH1 and CMT and ABC Family
#rme #studiocomputer #ferrofish

[@BritoWorx]

You have one of the great music producers pages on the web. Thanks for your time man. These in depth wiring tutorials are beyond helpful. I’d love to see how you make your own cables.

[@TrueSoundTV]

Thank you so much, I really appreciate you saying that. I know that wiring up a studio can be confusing And it’s a big reason why I make these videos. I wish somebody had made videos like this when I was first starting ha ha it would’ve definitely solved a lot of mysteries for me. Thanks again, and thanks for watching

[@dougleydorite]

I am really impressed with your ability to route things to get the most out of your gear and also be organized at the same time

[@michaeltablet8577]

Excellent! Just like always! Thank you!

[@TrueSoundTV]

Thank you 🙏

[@ianmcgranaghan9888]

Great video man loved it! always fun and exciting to get new converters! Would love to see a video of you demonstrating how to make your own cables!!!

[@TrueSoundTV]

Hey thank you, much appreciated. Yeah absolutely, I have this wiring station that I built that I think also makes making your own cables even easier. Thanks for watching

[@MarcoPolux]

Great video!! 👍

[@oggeeboggee]

You are very dedicated. I was following you when you had A&H GL4000, because I own such a console myself. I wish you all the best. Greetings from Stockholm.🇸🇪

[@TrueSoundTV]

I am lol but I just love this stuff so much. Not only is it my job, it’s my hobby, and it’s the thing I think about every day. Yeah I actually now wish I would’ve kept the Allen and heath. If I ever move and have to rebuild a studio, I would definitely grab one again just for all the mic preamps and monitoring. Having that many mic preamps for the price, is just unbeatable

[@antcall6779]

Great as always weezna😁🤘

[@TrueSoundTV]

Hey much appreciated!

[@jimfallon5622]

What is the purpose of the Ferrofish-->M-32 conversions from analog to digital, then back to analog? Why not skip both boxes and run your original analog directly into your X-Desk?

[@vainsacrosanct2014]

Thanks for sharing this with us Weezna. Reminds me I still need to install a 2nd patchbay myself since mine's completely occupied. I have an old e-mu e64 sampler with 8 individual outputs which I would love to use. Cheers from Antwerp!

[@TrueSoundTV]

Absolutely, and thanks for watching. Yeah the patchbay thing is extremely helpful but also my worst enemy ha ha. I really dislike the look of the cables on top but there’s just too many inputs and outputs to leave permanently set up. One of these days I’ll get around to showing how everything is patched as well, that’s a whole other video lol

[@vainsacrosanct2014]

@@TrueSoundTV that is awesome Weezna. Looking forward to it.

[@sekritskworl-sekrit_studios]

Did you ever do the audio cable tutorials?

[@sekritskworl-sekrit_studios]

If you are using the big ben & the Pulse 16 + M-32 both have BNC wordclock... then why are you also connecting toslink wordclock?

[@voodoohex72]

Maybe sell the big ben and just clock over adat to the ferrofish from RME. no need for word clock cables and you dont even need that clock cable from RME to big ben. Cant you just get the clock from ferroish adat which is the big ben clock in essence?

[@elonlove343]

What interface did you have running into the computer?

[@G_handle]

1st: Do you have a video on those Transformers you put in-line before the desk? I'm super curious. I thought the whole point from SSL with "Super Analogue" was to have a pristine, aka colorless signal path, and then add whatever color you desire down the line, say on Inserts. Hitting Trannies before the desk basically makes it a new desk. So you gotta love that sound if it's Always in the signal path. So What Trannies are we talking about here? And how are they wired up? And when you drive them, at what point/signal level do they saturate and give you something new, or do you simply drive it by ear and see what sounds good to you? Did I understand correctly that you only have the Trannies on 9-16, and not 1-8 (or 17-20)? If so do you choose which tracks go to which channels based upon that channel's Sound, or is it so subtle a difference that I'm overthinking it? And finally: I have a 32-channel Soundcraft Ghost; plus its an In-Line Console so that's 64-inputs to mix; I have two Quantum 4848 interfaces, so 64-Channels out, perfect; but I also have a stack of Patchbays to wire everything through, and the Ghost has Un-Balanced Inserts everywhere, and No Inserts on the 33-64 "Tape Inputs". So, I've been investigating building a ton of Transformers that could possibly serve two purposes: 1) providing everything with clean transformer coupled, Balanced Ins-n-Outs, but with as little saturation or slewing as possible (Superanalogue-esque), and 2) when driven hard, possibly yield a unique saturation sound across many channels of the mix in tiny accumulated steps rather than driving the whole mix through say 2-Bus Trannies (which is also nice for glue BTW). Anyhow, thanks for reading all of this if you have. But thanks much more for Doing These Videos in the first place. I suspect that there are many of us watching your journey and taking notes. G.

[@TrueSoundTV]

Yes, I actually racked up some transformers that are connected to the SSL X-Desk. So my intention was never to use the SSL X-Desk as a summing mixer. I always had the intention of coming out of the converters, into analog gear, then hitting the mixer and actually blending all this together. With that being said though, it is still better audio fidelity, and has more clarity in mid range focus than the Allen and heath I previously had. I have eight Triad A-67J, four Jensen 600:600 transformers, and then a bunch of other transformers that are either modified inside of gear. So really what I’m going for is a very hot signal coming out of the converters, and hitting the transformers to simply add some character without having to do anything. As of right now essentially every channel has at least two Transformers on every input, for all 20 inputs. I just kind of look at them as slight saturation and color boxes. Then after using a specific transformer for a little while, I decide it’s best place and then it permanently sits there!

[@G_handle]

@@TrueSoundTV Well okay! That's more than I bargained for. First let me say Thank You for the reply, and for doing these videos in general. Next let me say that This Reply sounds like a Perfect Video for your channel. I think in the world of KZbin videos you bring something unique (not just reviewing the latest plugins or gadgets), you actually open things up and break out the soldering iron. Which is exactly how Studios used to be. Every engineer made Mods to thier gear to get whatever sound or workflow they felt like the gear lacked fresh out of the box. An arsenal of Transformers strapped across multiple channels for thier various sonic differences and what they add to those tracks is Exactly what I think the KZbin generation needs to see in order to start thinking about how to use the tools in front of them. So thats my request, however long it takes, please make that video?

[@sekritskworl-sekrit_studios]

Where did you get those channel meters/meter bridge?

[@parachuteman4]

Erik Valentine uses hosa cables

[@rickgolden6748]

SHOW US HOW TO MAKE THE CABLES!!!!!

[@audiosounddoctor5834]

I am glad you have switched to cakewalk by bandlab.... what is your opinion ?.

[@TrueSoundTV]

For the most part it is very similar. I definitely like the color scheme of the BandLab version much better. I think it just looks much more pleasing ha ha. As far as functionality, it really seems extremely similar except for a few things. I definitely like the addition of the entire export section, I think that is much more in-depth and well thought out. There are a few things that are different and because I’ve been using the other version for so long it’s definitely gonna take me some time to adapt. Using the smart tool is the only way that I can click around with the timeline, that was different from the previous version. Also the time stretching of audio files is something different for me to get used to

[@paulrinis]

What's the diff between the RME and the Ferrofish? Looks like redundant gear? Thanks,

[@TrueSoundTV]

The RME is strictly a DA, so it is only giving me analog outputs. The ferrofish has 16 inputs, as well as 16 outputs. Right now I’m not using the Ferrofish outputs, it’s really acting as my AD converter

[@claudiaramirez5868]

do you have that connected to a pcei?

[@ronaldboykin9755]

Weezna, no more big analog console?

[@TrueSoundTV]

No I got rid of it over a year ago. As my clients and the audio industry just increases in audio quality, it was time to get rid of that mixer. Also I have found that the analog gear is what I find makes a bigger difference in how I mix. So having it all up on the same surface, works much better for me. Now I have the SSL X-Desk which is definitely better in audio fidelity! Thanks for watching