MPC REN- No Nuts?

I got my turntable going into my numark dm1600 mixer that goes into my asr-x that goes into my 2000XL that goes into the Ren as a line source. Sounding magnificent !

Mr Guiness wrote:I got my turntable going into my numark dm1600 mixer that goes into my asr-x that goes into my 2000XL that goes into the Ren as a line source. Sounding magnificent !

Multiple conversions are never a good thing... thats what i have been told
with every conversion you "loose" some of the audio information

... unless thats your purpose

LoopTheCrook wrote:

Mr Guiness wrote:I got my turntable going into my numark dm1600 mixer that goes into my asr-x that goes into that goes into the Ren as a line source. Sounding magnificent !

Multiple conversions are never a good thing... thats what i have been told
with every conversion you "loose" some of the audio information

... unless thats your purpose[/quote

Yeah, I've heard that too but this set up sonds waaaay better than just running the turntable into the ren.

I’m not sure how people feel about digging up old threads like this, but what happens if you send for example your kuckdrum or break to one of the additional outputs and record that again while driving the input a tiny bit?
I’ve used a 3000 in the past and quite frankly it had a very neutral sound. Nothing unearthly godlike magic as far as I can remember
The MPC60 has this super cool colouring going on for obvious reasons and I’ve been trying to get similar results in Logic with impulse responses and the results are interesting. However, after adding up all the sounds, it will never sound like a 60.
I think the problem people are having here is the fact that they import sounds from the hard drive and then bounce to the same drive.

Yeah... there really isn't any "magic" in digital to digital conversion. If you're looking for a pristine sound, and what goes in is what comes out... this is the land you want to work in as much as possible.

Where most folks disagree about how something sounds, they're typically talking about either how the audio to digital input sounds or how the digital to audio output sounds. In this area, the converters will have their own characteristics due to how it works, what the environment is like (such as heat/humidity), how noisy your power is, etc... the audio to digital conversion point in either direction can also be interesting because this is where you go from the physical world of "what happens when you over drive a signal" to the simulated realm of "you get digital clipping due to numeric limits".

Just to give an example here... I've seen plenty of people say great things about how the Akai S950 sounds as an audio effect, even if you don't record in. Basically they just hook up some audio to an input, and turn the levels up to where you'd get distortion, and let the audio pass through. In essence, they are not using the S950 for anything other than a very expensive distortion box. This isn't creating any 12-bit sound, because the audio isn't going through the digital interface. Yet I've seen my fair share of folks buying the S950, thinking they are getting "that sound", and having no clue how to actually use it. And hey... if it sounds good... I guess it is good, but somehow I think that's missing the point.

Cool idea with the impulse responses, but remember, they are trying too recreate a space for reverb, and not the character and tone of an effects unit. So you can absolutely use an impulse response through these kinds of devices, but they won't recreate the sound in that way.

Back to your point, digitizing a sound, and then moving the digital version into the system is often the least interesting part of the ADDA process. There is absolute merit to doing this when you want to preserve the integrity of the sound as much as possible, but trying to preserve the integrity of audio on a 12-bit device kind of ignores the character that the device has in the first place.

Yes indeed, a convolution reverb is designed to emulate any acoustic space with. That's what it's made for. Although it is a great tool for experimental oddities as well.
It is a great tool to make synthesized sounds more "physical". It's hard to explain. I often create "impulse responses" with an FM synth.