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The mic is #2 does not work, meaning there is no sound, but I do see the lights on the Scarlett light to indicate its working. The mic in #1 works fine meaning I have sound when I do my Podcast.
#Focusrite scarlett 2i2 driver problems mac
I have the Scarlett plugged directly into the mac by USB and I have a mic in position 1 and 1 in position 2. No one at Scarlett knows what the issue is so I am hoping someone here can help. Phillip, post: 460670, member: 51572 wrote: I have the same problem that I have had ever since Mac updated to Mojave. The US was is better - the 57 may not be the most expensive and highest quality, but does seem to survive really well - never being used on the lips in most cases. We don't do that, and comparing video clips shows huge variety in captured sound from the same voice. I've always liked the way the US Presidents had identical mix setups and you always hear your Presidents sound the same. Mics are I think, a bit like jewellery - they have specifications, but the looks and what you get out of them changes big time!Ĭonsistency should be better than it is - but I guess that's user abuse, not manufacturing or design. If you have a dull one, or a bright one, your opinion of them changes.
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Same brand, same model - not all 58s are equal. So we do the sound check, and he complains, so we swap their mics for ours and the monitors honk, HF goes up, and my 86 takes people's heads off and they reset many of the things set on the smell set. The B58 just kind of hides my voice? Sometimes we soundcheck with the supplied Beta 58s, but our drummer cannot stand smelly mics - and most hire PA mics are spit bound, or worse, smoke bound and stink. We use 3 x B58s and an SM86 - mainly because I find that one more pleasing in my in-ears, and as we sing close harmonies, hearing is really important. In my band we probably do a 50/50 split of all our own kit and PA and drive/fly-ins where everything bar the guitars and keys is supplied - and we usually ask for Beta 58s. The very understated thing with mics is that very often we stick to our old tested solutions and are very wary of change, plus, not all the same mics sound the same. I'm always happy with other people's opinions. Yep - plenty of good stuff here to show the huge range of opinions. Once you buy better ones, you're probably better skilled by then to hear the differences, but while I started with an SM57 in the late 70s when I could afford the huge price, nowadays the choice is better. Of course the Chinese mics are not matched like expensive ones are, but that really doesn't matter at the entry point. If I was starting from scratch, not wanting to spend huge sums, I'd buy a cheap condenser first, then probably a 57 as mic 2, or with what I do, I'd buy TWO cheap condensers first. The 57 works better on a snare drum, or in front of a screamer - but that's not everyday recording for most newcomers. I had a few samples of those dirt cheap condensers that sell on Ebay and work on phantom or 5V supplies from computer sockets, and given a choice of an SM57 or one of these for an all round mic for a first time buyer, the cheap condenser sounds better - there's clarity, cleanliness and the ability to work away from the source. The hypercardioids were very useful for conferences (the main use, with a bit of radio), and the omni capsules came in handy on ensemble/choir type jobs. The small diaphragm ones I bought in large quantities were copies of AKG 451s, and even had the horrible fine thread on the capsules. If you compare them to something like AKG414s, then there is a big difference - but with eq, you can tame them perfectly well, and they are good at distances. The large diaphragm types were all quite nice, but if you had to find a generic term to describe the sound, they were all bright - like the Audio Technica sound, and none were mellow like the old original Oktava 319s I still have somewhere.
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In around 700 sales of condensers only one was dead on arrival, and two had higher noise figures. I used to sell loads of Chinese sourced microphones, but I don't any longer. The SM57/58 really don't sound that much different to Betas - I'm not certain the extra top end is that much use - and a twist of the eq knob makes that kind of difference to the Beta non-Beta Shures, but they really are still mellow mics, with not much at the top - switching to a Beta 86 for 87 is a BIG change, not the subtle one with the Beta 57/58.ĭynamics are great for sticking on your lips, but so much of what we record nowadays stretches the preamps quite a bit once you start moving back and trying to record acoustic guitars. I think we must agree to disagree on this one.