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> thanks for the tipps, sounds interesting, but, are you saying then that I cannot connect all the instrument to a mixer and then the mixer to the Rang without another gear which transform the mixer line signal in instrument level signal?
That's right. Most mixers are balanced line level output at +4dB. Take that output and put it through a Re-Amp box. The box itself is small, and the JCR Re-Amp is totally passive, so you don't need power.
> It would have been nice to know that before :(
> That's strange anyway, I've seen the rc-300 and rc-50 used with a mixer. And they, I am checking, have apparently also only instrument input.
> Mumble.
That does not mean that it was correct. There are alot of people who will change from instrument level to line level in their signal chain, and not think about it. Then they wonder why they have noise, hum, buzz, and why some devices clip and others are too quiet.
> I use it more with the voice (generally effected voice for a futuristica techno beatboxing) and some other things like percussions (through same mic) and synth.
> All connected to the mixer.
> So I need something to bring all to instrument level?
You have to start thinking about signal path. The sound starts somewhere, and ends up being heard. So, where does it go on its way from source to the speakers? What level is it at each point? What level does the device require at it's point in your signal path?
> And then why do I still need a compressor/limiter?
> I may probably be very ingenuely wrong but I thought the compressor limiter was to avoid peaks and saturated distorted sound (which is something I also need especially when I beatbox and especially when I do the bass beatbox. WHat do I need to solve this?).
>
I use compression just to be sure that any peaks hit a threshold and do not clip the Boomerang. Anytime you use a digital device, using a compressor or a limiter before the sound is digitized, is a good way to make sure that you do not get digital clipping, which sounds horrible.
> Anyway your lineup sounds so complicated to me. I hoped I could have just used all through a mixer, the mixer to the rang, the rang to the speakers or amp or other mixer.
> Then I was thinking about something to avoid peaks/saturation/distorsion, eventually a denoiser to avoid having to reduce too much the highs.
> But all those things you have are a mistery to me.
It is not complicated at all. It sounds like it is, but from a signal path prospective, it makes sense. Think of line level as driving on the interstate. The speed limit is fast, and everyone is going the same speed. Now, you see an exit that says "Boomerang". You slow down to instrument level, and drive on the surface streets at slow speed. After you are through with the Boomerang, you decide to get back on the interstate, and you speed back up again to line level.
Most of the time, devices will say "Line" on their outputs or inputs. If not, get out the manual and see what it says. Just start thinking about the direction and level of your signal path. It is confusing at first, but the more you do it, the easier it gets, I assure you.
There is good pro audio advice at gearslutz.com and electrical.com (that's Steve Albini's studio) get into the forums there and you can learn alot about levels and signal path.
> :)
> ________________________________
> Date: Thu, 21 Jun 2012 10:30:17 -0400
> Subject: RE: Rang III question and also I need help with clipping and distortion problem.
> From: bennettwilliamsdrums@gmail.com
> To: Loopers-Delight@loopers-delight.com
>
>
> I have a Boomerang III and Side Car. I use it with my saxophone rig. I was having problems with clipping but I solved them. The way I did this was through the use of a Radial JCR Re-Amp box, and an FMR Audio ARC compression pedal. You have to remember that the Boomerang was designed to be the first thing that a guitar plugs into before the signal goes to the amp, and electric guitar signals are extremely weak and quiet. The Boomerang is designed to handle instrument level signals. Well, with the saxophone I am going through a mic preamp that has a line level (+4dB) output, and that's far too hot for the Boomerang, and it was clipping all over the place. The device that is needed to bring line level signals down to instrument level is a Re-Amp box. Go to the Radial Engineering website and look up the JCR ReAmp. That's the point of entry on my pedalboard for signal. So, now everything is down to instrument level, but I still want to control the dynamics so I go through the FMR Audio ARC compression pedal. It's a very musical sounding compression pedal, and it does a great job of smoothing things out. So, now I can use more gain on the Boomerang and use all of the digital headroom in it for the best audio quality. At the end of my signal path on the pedalboard is a Radial JDI Duplex direct box that goes to a stereo mic pre (Langevin Dual Vocal Combo) , and I am back up to line levels, it's either to the PA or recording. Works great. Sounds great.
> On Jun 21, 2012 9:30 AM, "Sergio G" <simpliflying@gmail.com> wrote: