Boswell, post: 453762, member: 29034 wrote: I was astounded when RME introduced a new version of the Babyface that they called "Pro", but which had line level inputs that were not only unbalanced but had a 0dBFS level of +13dBu.

The line inputs go through an amplifier that has electronically switchable gain of 0dB or 9dB (to cater for both "pro" and domestic levels) before they arrive at the ADC. If you will be connecting the balanced outputs of another pre-amp (your GAP Pre-73?) to the line inputs of this unit, you will need to think about how you go about unbalancing the signals and limiting the output levels. If your GAP Pre-73 is a Mk iii or a modified Mk ii, taking the signal from the insert send rather than the main output may well be the better option.

I don't mean to be disparaging about your choice of audio interface - RME products are built to the highest standards, and perform similarly. I own a FireFace800 and have had nothing but good results from it. The BabyFace Pro will also give you great results as long as you think carefully about how you connect it up. Nevertheless, it's sloppy design and marketing for RME to be offering these sort of specifications and then differentiating this version of the unit from its predecessor by adding Pro to its name.

One of the main design criteria for the BFP was to make sure it was able to be powered by a usb bus. I’m not sure how balancing or lack of it comes into play, with that. There were a few associated compromises that to me felt a little odd to make just to achieve the bus power feature. It’s by all accounts a nice well performing unit.

the Australian distributor ( mixmaster ) has the R10 at $850 AD /$650 US , what a joke .
I was considering buying but that just turned me off

Smashh, post: 453800, member: 45856 wrote: the Australian distributor ( mixmaster ) has the R10 at $850 AD /$650 US , what a joke .
I was considering buying but that just turned me off

Not sure why this is but the shipping cost to Oz has to be the highest on the planet. Its absolutely insane expensive so this could be why. Its not uncommon for a small box to cost $800 CDN to send it by air. By sea... well that would take 3 months.

Smashh, post: 453800, member: 45856 wrote: the Australian distributor ( mixmaster ) has the R10 at $850 AD /$650 US , what a joke .
I was considering buying but that just turned me off

We have the same problems in Canada, the dollar exchange rate is very poor ; 1USD = 1.27 CAD.
I had to stop buying on ebay for that reason and music gear prices keep getting higher. (not to mention the 8% custom fees and the local taxes 15%...)
Our politicians keep talking about immigration, schools and healthcare but our dollar value is always forgotten... :(

I don't mind paying the exchange rate diff , Its whats put on top afterwards that is unreasonable .
Most of the time it is way better to buy from the US ( under 1K does not get the extra Aus taxes this end ).

If the R10 cases are made in China , Im sure they'll put the rest together soon enough under another name.
If companies as big as Nike can't stop the rip offs , theres no way microphone companies will.

Basically someone in Aus is just too greedy and help create a demand for the copies .:mad:

Smashh, post: 453811, member: 45856 wrote: I don't mind paying the exchange rate diff , Its whats put on top afterwards that is unreasonable .
Most of the time it is way better to buy from the US ( under 1K does not get the extra Aus taxes this end ).

If the R10 cases are made in China , Im sure they'll put the rest together soon enough under another name.
If companies as big as Nike can't stop the rip offs , theres no way microphone companies will.

Basically someone in Aus is just too greedy and help create a demand for the copies .:mad:

I get you...
I wonder if it's the same in your case ;
Our music stores are used to have an average of 30% profit margin but some distributors, in agreement with some makers, are the ones fixing the prices and the stores can loose a product access if doing a lower price. A good thing for now, it's not like that for every products. But those Shure, Sennheiser and many others have fixed prices.
In a way, the consumers can't even have the leverage to negociate prices by choosing where to buy.
''Hey, you are a good customer I'll make you a good price!'' doesn't exist anymore...
Healthy competition is thing of the past... :(

Cost me over $80 to ship a small box with headphones and a couple mics to AUS. I learned the hard way by finding out after I agreed on a price.

I wonder if the markup is across the board, meaning would any royer or mic in general cost a couple hundred more?

pcrecord, post: 453815, member: 46460 wrote: I get you...
I wonder if it's the same in your case ;
Our music stores are used to have an average of 30% profit margin but some distributors, in agreement with some makers, are the ones fixing the prices and the stores can loose a product access if doing a lower price. A good thing for now, it's not like that for every products. But those Shure, Sennheiser and many others have fixed prices.
In a way, the consumers can't even have the leverage to negociate prices by choosing where to buy.
''Hey, you are a good customer I'll make you a good price!'' doesn't exist anymore...
Healthy competition is thing of the past... :(

Price fixing is supposedly illegal. Loopholes must exist for the companies.

I couldn’t get any money off my Mesa head or cab, but I did get a the Marshall cab and pedals close to cost, so I was able to work around the price fixing somewhat.

I did some trouble shooting with RODE and Audix a few years back and thankfully RODE volunteered to pay the $800 shipping cost to send a small box valued at $300 to RODE.

I've had opportunities to deal with people in Oz but the shipping is always insane and deals go south because its too damn expensive. I am sure they pay a lot more money for everything being imported.

Late to the party, but...

Davedog, post: 452730, member: 4495 wrote: The fat switch kicks in a low-end boost @10 to 400hz and shelves the slight rise in the highs thats there for the normal setting.

iirc it's similar to the "I" mode on the old Soundeluxe ifet-7, no?

BonScott, post: 453742, member: 50892 wrote: For those who use a Cloudlifter or similar signal booster, I'm curious about the preamps you own that don't provide enough noiseless gain by themselves. Can you give some examples?

I haven't tried a Cloudlifter with this preamp to see if it would alleviate the problem, but fwiw the Langevin Dual Vocal Combo did not have enough gain to make an R-121 work optimally when tracking piano or woodwinds.

Those using zoom recorders surely need a little boost to keep gain level down and so the noise.

BusterMudd, post: 455420, member: 19750 wrote: I haven't tried a Cloudlifter with this preamp to see if it would alleviate the problem, but fwiw the Langevin Dual Vocal Combo did not have enough gain to make an R-121 work optimally when tracking piano or woodwinds.

pcrecord, post: 455422, member: 46460 wrote: Those using zoom recorders surely need a little boost to keep gain level down and so the noise.

Thanks for those thoughts. I did finally get an R-10 and have had no trouble with gain from my GAP Pre73. I've only used the mic a few times on a guitar cab along with a 57, and I've no other experience with ribbons to make a comparison, but it sounds good alone and in combo with the 57. Has anyone else snagged one? SoS gave it a good review.

BonScott, post: 455475, member: 50892 wrote: Thanks for those thoughts. I did finally get an R-10 and have had no trouble with gain from my GAP Pre73. I've only used the mic a few times on a guitar cab along with a 57, and I've no other experience with ribbons to make a comparison, but it sounds good alone and in combo with the 57. Has anyone else snagged one? SoS gave it a good review.

Thanks for telling your experience I'll certainly give it a try if I have the change !
Most level problems (if any) occur with low level sources. I doubt anyone would have problems with a guitar cab, a bass drum or others like that. Try to record finger picking on an acoustic guitar tho.. (if the ribbon is the good choice to start with ) ;)

pcrecord, post: 455477, member: 46460 wrote: Thanks for telling your experience I'll certainly give it a try if I have the change !
Most level problems (if any) occur with low level sources. I doubt anyone would have problems with a guitar cab, a bass drum or others like that. Try to record finger picking on an acoustic guitar tho.. (if the ribbon is the good choice to start with ) ;)

I certainly plan to try it on some other sources, including low-level. All part of my learning efforts, and I have loads to learn! This site provides such helpful reading, so thanks to all you experienced regulars for sharing your knowledge.

BonScott, post: 455481, member: 50892 wrote: I certainly plan to try it on some other sources, including low-level. All part of my learning efforts, and I have loads to learn! This site provides such helpful reading, so thanks to all you experienced regulars for sharing your knowledge.

To further explain about low level sources.. there isn't anything wrong about using a ribbon on any sources.. But with some consumer level preamps, when you push the level around 75% and more, electronic noises will enter the signal... A better preamp like the Focusrite ISA gives a ton of gain without noise.
I'm sure you will be able to get great results with your GAP Pre73 ;)