NewDarkAge wrote:Having a problem with the G string on an electric guitar (with a TOM bridge). It s sharp all the way up the fretboard (not just progressively) ” as in, tuned to a G, the A on the second fret will be noticeably sharp. Any idea what would cause this? The intonation on the other strings is fine.Did you move the saddle so it's intonated at the 12th fret? definitely do this first if you haven't. Guitar is a tempered instrument so the notes are never all going to be perfect, but it's possible the action of the string it too high so you're always pulling it sharp...

The non-XR version will only do 96k if you use external converters.Glad you mentioned inputs, too. Initially the non-XR was limited to the inputs all being the same, but a firmware update eventually changed this and allowed you assign each input (or maybe pairs of inputs) as analog or digital. Both analog and digital outputs always mirror one another regardless of input.

I worked at a studio that had two HD24s running together for 24 tracks at 96/24 and it worked flawlessly. Like Adam said, from the HD24's perspective it should work jus fine.

One thing nobody is going to tell you about the HD24...It's kind of a moose. Keep that in mind if you have any interest in hauling the overall setup around to record.Other than that, the ones I have used/owned are kind of the "Old VW Deadhead Bus" reliable. Had to have the faceplate replaced one time. That was it.Edit:One other thing...From the looks of my non-XR, it will do 96k just fine. The actual reason to try to hold out for an XR is that the converters were supposedly better on the XR. Seems like the HD24 were Alesis "In House" designs, and the XR might have used the AKM equivalent. Think that the AKM might have been in some versions of the RADAR, but I never kept up enough with the RADAR to say for sure.In addition, the XR(assuming I'm not getting foggy) will let you split inputs/outputs to either analog or digital. The normal HD24 was all analog or all digital.Well, more than one thing. I'm pretty sure the HD24 is going to want to be the "Master" clock as well. While I only ever used mine as a "Bells And Whistles" 424, it seems like I saw folks say the audio in "Slaved" HD24 suffered even if it technically worked.

I was doing a quick fix on a friend's Music Man Stingray bass (battery wire came undone) and it made me wonder.. has anyone built a pedal version of the active EQ? It seems like the more modern solution (since everyone has a pedal board anyway) and it could have a 9V input to forgo batteries!edit: would still be nice to have a passive volume knob on the bass. Is that possible with those pickups?edit: ok kinda found one, this one's a 2 band but apparently there's a 3 band too

Mason wrote:Thanks for reviewing my Alesis q y'all. Seems like I might be barking up a stupid tree on this one.I didn't want to say it before, but you are. I had the same idea a couple of years ago and I realized that I'll be better off just buying a MOTU 16A (which I did). Back then the HD24 XR were still going for about 600-800, and between that and an another interface/card to accommodate whatever digital protocol the Alesis is sending, I realized that I can get a 16A for about the same price.

Thanks for reviewing my Alesis q y'all. Seems like I might be barking up a stupid tree on this one.Probably I'll upgrade to a MOTU 16A at some point, though at the same time I can't point to anything wrong with the converters in my Studio-Capture. As if the bottleneck in my setup is my conversion and not that I record in basements with 3.5-ft ceilings or whatever.

Solid state amps should give a minimum impedance load. Just don t go below that and you should be fine. *Most* solid state amps want to drive as much current as is necessary to maintain a constant voltage across the load...since smaller load impedance means more current necessary to maintain a given voltage (V = I x R), too low of an impedance can cause the output transistors to try supplying more current than is thermally capable. Most modern amps will probably have circuitry that shuts the amp down to prevent damage.

I'm upgrading to passive speakers and with them I need to buy a power amplifier. The speakers are rated for 4 ohms (which is what all speakers are rated for it seems), but all the power amps I'm looking at are rated for 8 ohms. So what's the consensus for matching power amps and speakers? Since the amps are solid state, this mismatch shouldn't be an issue and all it means is that the amp will deliver more power to the speakers? I guess since it's going to deliver more power to the speakers I should be even more cognizant that what I feed to the amp isn't clipping?

Thanks. So basically there's no hard and fast rules and it comes down to the specific amp at hand? For instance I was looking getting an Adcom GFA-555 and it's rated for 200W at 8 ohms, but then reading the manual it says it's able to put out 300W at 4 ohms, and goes on to mention that it can handle impedances as low as 2 ohms for the low frequencies.