KRK ERGO User Manual
CCoonntteennttss
IInnttrroodduuccttiioonn .......................................................................................................................... 33
1.
1.1 The idea behind ER
1.2 ERGO – A Complete System ............................. 3
1.3 How does ERGO work? .................................... 4
1.4 Input Modes .................................................... 4
1.4.1 FireWire Audio Input ............................... 4
1.4.2 Analog Input .......................................... 4
1.4.3 Digital Input ........................................... 4
1.5 System Requirements ......................................... 5
1.6 Acoustic Environments, Room Correction, and ERGO 5
1.6.1 It’s not your speakers, it’s your room ......... 5
1.6.2 Room Correction so far ............................ 5
1.6.3 So, why not flat and without reflections? ..... 6
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2.1 Back Pane
2.2 Front Panel ....................................................... 8
2.3 Side Panel ........................................................ 9
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nstalling your Monitors ................................... 10
3.1 I
3.2 Positioning your Monitors ................................ 11
3.3 Connecting your System – What goes where? ... 12
3.4 Test Signal and Measuring Techniques ............. 14
3.5 ERGO with RoomPerfect™ is the solution .......... 14
3.6 Software Installation ........................................ 15
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55.. EERRGGOO CCaalliibbrraattiioonn SSooffttwwaarree ((EERRGGOO CCaall)) ...................................... 1177
et up ............................................................ 17
5.1 S
5.2 Calibration ..................................................... 18
5.2.1 Enabling Calibration .............................. 19
5.2.2 Adjusting ERGO’s Volume ...................... 19
5.2.3 Focus Position Measurement .................... 20
5.2.4 Room Position Measurements .................. 22
5.2.5 Room Correction .................................... 23
5.2.6 Room Knowledge ................................... 24
l and Connections .............................. 7
GO .................................... 3
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6.
1 Scenario 1 ..................................................... 26
6.2 Scenario 2 ..................................................... 27
6.3 Scenario 3 ..................................................... 27
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99.. TTrroouubblleesshhoooottiinngg ............................................................................................................ 3311
1100.. SSppeecciiffiiccaattiioonnss .............................................................................................................. 3344
Appendix
DDAAWW CCoonnffiigguurraattiioonnss ...................................................................... 2288
7.1 U
sing ERGO in ASIO Mode ............................ 28
7.2 Using ERGO in WDM Mode ........................... 28
1 Pro Tools® ..................................................... 29
8.
8.2 Cakewalk/Sonar™ ......................................... 29
8.3 Ableton Live™ ................................................ 30
8.4 Nuendo® ...................................................... 30
: Glossary of Terms ....................................... 35
2
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Thank you for purchasing the ERGO Room Correction System.
We appreciate your trust in us. ERGO (EEnhanced RRoom
GG
eometry
the performance on any loudspeaker/monitor system by
digitally correcting your room’s acoustic problems. A few of
ERGO’s bells and whistles are:
• High-performance, state-of-the-art Digital Signal Processor
for room correction and analysis
• Mastering grade Analog-to-Digital and Digital-to-Analog
converters
• Standalone correction - No computer is required for room
correction
• Analog or Digital Inputs/Interfaces
• Large Analog Volume Control
• Built-in speaker selector
• Top-notch RoomPerfect™ technology corrects phase and
frequency problems
• ERGO Cal Software compatible with Mac and PC platforms
• Professional calibrated measurement microphone
11..11 TThhee iiddeeaa bbeehhiinndd EERRGGOO
There ar
from professional musicians or a regular Joe trying to unwind
from the stresses of life. But, there aren’t always great rooms, or
studios, to back up that sound. ERGO was developed after years
of listening to the same comments - that mixes don’t sound the
same outside of the studio. And, true, there are several other
room correction products out there already. But, typically they’re
only analyzing and correcting 1-8 EQ points. ERGO uses
multiple measurements and thousands of EQ points to control
your audio environment. Our 3D model allows you to preserve
the “good” characteristics of the room, while correcting the bad.
OOptimization) is an exciting product that enhances
e a lot of great sounds out there - whether they come
ERGO doesn’t color the sound or produce an artificially sterile
environment. So after using ERGO, you will hear the difference.
You will be able to “trust” the sound of your room, concentrate
on your music, mix faster and accurately, and create mixes that
will properly translate to other listening environments. That’s why
KRK developed ERGO. Because really, how good is a great track
that only sounds great in your room?
11..22 EERRGGOO –– AA CCoommpplleettee SSyysstteemm
ER
GO is a complete room analysis and correction system. All
of the components have been carefully selected to work in
perfect harmony to provide the most accurate room analysis and
correction system on the market today. The ERGO system consists
of 3 main components:
• ERGO Mic – Calibrated Measurement Microphone
• The ERGO base unit – Room Correction System
• ERGO Cal Software – Room Analysis and Control
To configure ERGO’s parameters and check system information,
just open ERGO’s Control Panel. (For more information about
ERGO’s Control Panel please read Chapter 4).
3
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11..33 HHooww ddooeess EERRGGOO wwoorrkk??
ERGO takes a stereo aud
io stream from the analog or digital
(SPDIF or FireWire) domain and processes it though a 96 kHz
room correction algorithm. All incoming analog audio is
sampled at 96 kHz, while incoming digital audio is sample rate
converted up to 96 kHz for processing. If incoming audio comes
in over FireWire, the processed audio is converted to reflect the
output frequency of the ASIO driver, up to 192 kHz. In Digital
Input mode, the output frequency and the audio going to your
monitors is going through digital to analog converters fixed at 96
kHz sample rates.
ERGO’s architecture provides the best audio quality while
maintaining compatibility with existing systems. In fact, the audio
converters used in ERGO are the same as those found in
multi-thousand dollar audio workstation hardware. Rest
assured...you can’t go wrong with ERGO.
www.krkergo.com/videos.php?vid=intro
Visit
to watch ERGO’s
Video Introduction.
11..44 IInnppuutt MMooddeess
ERGO has 3 Input modes (Fig
ure 1);
• FireWire Audio Input
• Analog Input
• Digital Input
11..44..11 FFiirreeWWiirree AAuuddiioo IInnppuutt
mode, ERGO looks like an ASIO audio device under
In this
Windows, or as a CoreAudio device on a Mac. To ensure your
monitor or mastering mixes will be correctly compensated for
your listening environment, it is recommended that you select
ERGO as your DAW main Left/Right outputs or output bus. At
the moment, Windows supports a single ASIO device, so you
must use ERGO as your only audio interface. To use your
existing multichannel audio interface with ERGO, just run ERGO
in Analog or SPDIF Input modes.
11..44..22 AAnnaalloogg IInnppuutt
The Analog Inp
ut mode is the easiest way to implement ERGO
into your existing listening environment. If you already have your
DAW set up just the way you like it, and like your current audio
hardware, just plug the main Left/Right outputs of your DAW
hardware into the ¼” balanced inputs on ERGO. ERGO’s
high-quality converters will maintain the integrity of your mix
while correcting your room’s problems.
11..44..33 DDiiggiittaall IInnppuutt
This is similar
to the Analog Input mode, except that a digital
SPDIF Input is used. The SPDIF on ERGO accepts any input
signal from 44.1 kHz up to 96 kHz. The analog speaker
outputs in this mode will be fixed at a 96 kHz sample rate.
Figure 1
4
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11..55 SSyysstteemm RReeqquuiirreemmeennttss
A co
mputer is required for performing room measurement and
analysis. Minimum required computer specifications are:
Mac®
800 MHz (or faster) processor • 256 MB RAM • 6-pin FireWire
port (or 4-pin FireWire port using 4-6 pin adapter, not supplied)
• Mac OS X 10.5 or later.
PC®
1 GHz (or faster) processor • 256 MB RAM • 6-pin FireWire
port (or 4-pin FireWire port using 4-6 pin adapter, not supplied)
• VGA with 1024 x 768 resolution (or higher) • Windows XP or
Vista.
11..66 AAccoouussttiicc EEnnvviirroonnmmeennttss,, RRoooomm CCoorrrreeccttiioonn,, aanndd EERRGGOO
11..66..11 IItt’’ss nnoott yyoouurr ssppeeaakkeerrss,, iitt’’ss yyoouurr rroooomm
Most studi
be used in listening rooms with optimized dimensions and
acoustic treatment. However, most home or budget studios are
placed in less than ideal acoustic environments. This means that
the actual performance of your monitors is highly dependent on
the acoustics of your listening room. In fact, the perception of
your mix will change based on where you sit while monitoring
and the speaker’s placement.
To put this into perspective, extensive measurements in different
rooms show that even when a high-end system is placed in a
well-controlled room, peaks and dips between +10 to –20 dB in
the frequency response are more the rule than the exception!
Refining speaker design with the goal of creating a “linear”
sounding audio system by improving the linearity of each
component 0.2dB doesn’t actually help much.
o monitors are created to be flat and precise, and to
In addition, it is obvious that even if the greatest of care is taken
over tweaking the system with cables, interconnects, power
stabilizers, etc., none of that will never compensate for 10 to 20
dB peaks and dips in the frequency response. It’s clear that the
room is the weakest link in the chain. In principle, if you
strengthen the weakest link, then the entire chain is improved. In
other words, improve the overall quality of your artistic projects
using ERGO.
11..66..22 RRoooomm CCoorrrreeccttiioonn ssoo ffaarr
Today
, most room correction is carried out based on a single
measurement at the listening position. This is problematic
because you are trying to solve problems in a 3 dimensional
sound field by taking a 1 dimensional measurement. To
accomplish this feat would require extraordinary acoustical skills
and luck to reach the right conclusions based on this single
measurement – so if this does work for you, you should head
out to your local store and buy a lottery ticket immediately! Even
taking a number of positions around the listening position and
averaging them is not a good solution, as tests have shown that
moving the microphone just 10 cm (4 in) relative to the listening
position easily results in 20 to 40 dB deviations. So, unless you
are a very skilled in acoustics, the chances of making a wrong
decision are huge.
Another crucial decision is how to define on the ideal target
response – logically, if you don’t know the target, it is
impossible to get there. Instead of making measurements at the
listening position, some systems measure the way the
loudspeaker couples to the room (the acoustic impedance). In
addition, such a power response measurement can correct the
issues you have “globally” through the room. However, it will
never perfectly solve the problems at the listening position.
5
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“The ideal response is flat and without reflections” is a statement
you’ll hear if you ask people what the perfect sound would be
for them. However, for various reasons, it is not ERGO’s goal to
do this. Instead, ERGO is focused on making the room sound
right, reflections and all.
11..66..33 SSoo,, wwhhyy nnoott ffllaatt aanndd wwiitthhoouutt rreefflleeccttiioonnss??
We are used to list
music outdoors is rarely satisfying as it is missing something:
bass and impact. In other words, what we define as the generic
in room bass enhancement sounds natural to us, which is
precisely why you shouldn’t compensate for this.
Secondly, listening to a speaker with a flat in room power
response sounds very bright. Measuring the direct on-axis
response will look flat, but at the listening position the sound will
roll off towards the high frequencies – due to distance,
directivity, off-axis listening, general high frequency absorption,
and reflections in the room.
Last of all, reflections are a big part of how we determine
directionality and ambience. That is if there are no reflections, a
lot of the 3 dimensional information would be lost. If you are
trying to simulate how something will sound in a given position
in a room, you need to simulate a minimum of 100,000
reflections – otherwise, it just doesn’t reflect what happens in the
real world. Therefore, the challenge is not to remove the room
and the reflections – but to work with them.
ening to music inside a room. Listening to
Speaker designers obviously have an idea of how a loudspeaker
should sound. ERGO strives to preserve the speaker’s identity, no
matter what kind of room you’re in or how the speaker is placed.
You bought your great KRK monitors (or some other monitors)
because you liked the way they sounded and we understand
that. That’s why ERGO does not make every audio system sound
the same. The tonal balance of your speakers will be kept intact
– but ERGO will match them to your room by compensating for
the room’s influence. Generally, room influence can be defined
as peaks and dips in the frequency response. Some can and
should be compensated for, others cannot and should not.
So now you see the challenge involved in creating a room
correction system that maintains the tonality of your system and
only compensates for problems that can be solved. ERGO can
correct for many of these issues and help your mixes to properly
translate to other listening environments.
6
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22..11 BBaacckk PPaanneell aanndd CCoonnnneeccttiioonnss
In th
e Back panel (Figure 2), ERGO includes:
• On/Off Switch
• Power Input
• FireWire Ports
• SPDIF IN
• Cal Mic Input
• Line Inputs (L & R)
• Calibrate button
• Speaker A and B/Sub Outputs
• Headphone Output
Figure 2
OOnn//OOffff SSwwiittcchh
witches the unit On or Off…
It s
PPoowweerr IInnppuutt
O’s power input accepts a 12VDC power supply capable of
ERG
delivering a minimum of 1 amp. If you intend to keep ERGO
hooked up to the FireWire port on your computer (6-pin), you do
not need to use the external power supply, as ERGO is designed
to use the power coming in via the 6-pin FireWire port.
While ERGO can use a 6-pin FireWire port’s power for itself,
many times this will be a bit “noisy.” If you find this to be true in
your case and you think ERGO is not providing the best sonic
quality that it can, go back to using the external power supply.
Keep in mind, that you will always need to plug ERGO into the
external power supply when using a mini 4-pin FireWire cable
since it does not provide power like its 6-pin counterpart.
FFiirreeWWiirree ppoorrttss
These 2
ports allow input and daisy chaining of FireWire signals.
One of these ports must be used while ERGO is measuring and
calibrating your room.
NNoottee
ually, the FireWire port is only used when ERGO is
Us
running its room analysis. After the analysis is complete, you
can unplug the FireWire interface and still use ERGO in
Standalone mode using the Line or SPDIF Inputs.
SSPPDDIIFF IINN
eives digital audio data.
It rec
CCaall MMiicc IInnppuutt
ack is used to connect the ERGO measurement microphone.
This j
It is only used during the calibration process.
NNoottee
is recommended that you use the mic supplied with
It
ERGO for room calibration. ERGO supplies a 15V phantom
power source to its microphone, and using other mics for
calibration may result in poor room analysis and improper
correction filters.
LLiinnee IInnppuuttss ((LL && RR))
These balanced/unbala
nced audio inputs are used either as
inputs from your existing audio interface or as recording inputs
from a mixer. You may want to use the Analog Inputs for one of
the following reasons:
7
22.. EERRGGOO PPaanneellss aanndd CCoonnnneeccttiioonnss
• You have a complex or well-established FireWire
configuration on your computer and don’t want to
interfere with it.
• You are using an analog console and mix “outside of the box.”
CCaalliibbrraattee bbuuttttoonn
need to press this button to proceed with the Calibration
You
process.
SSppeeaakkeerr AA aanndd BB//SSuubb OOuuttppuuttss
These balanced/un
balanced outputs are connected to your
powered speakers, or to an amplifier and speaker combination.
These are line level outputs. It is recommended that balanced
cables and connections be used to ensure the best audio
quality.
HHeeaaddpphhoonnee OOuuttppuutt
Connect your 1/4 in
ch headphone here.
22..22 FFrroonntt PPaanneell
e Front Panel (Figure 2.1), ERGO features:
In th
• 3 Status LEDs (Clip, IO/FireWire and Calibrate)
• 3 Buttons (A, B/Sub and Focus/Global)
• 1 Volume knob
SSttaattuuss LLEEDDss
CClliipp
Thi
s LED illuminates when the incoming audio signal is 3dB from
full-scale input, indicating a likely clip condition. This is used
during the calibration process and when the incoming main
output signal is inserted into the Input (Line In) jacks on the back
of ERGO. This is also used when using ERGO as a FireWire
recording interface to indicate excessive signal coming in from
the line-level device (mixer, keyboard, etc).
IIOO // FFiirreeWWiirree
This bi-
color LED illuminates red when power is applied, and
green when a valid FireWire connection is detected.
CCaalliibbrraattee
The Cal
ibrate LED illuminates when the Calibrate button is
pressed on the back of the ERGO unit. While in Calibrate mode,
the Line In signals are no longer active and the MIC input is
active.
BBuuttttoonnss
AA
When applying o
ne input, use the A input and press the button
to enable. When the button is unlit, there is no audio passing
through.
Figure 2.1
So lets read their description;
BB//SSuubb
When connect
ing a second input, and you want to hear both A
and B speakers, press B/Sub to enable this function.
NNoottee
(non-Subwoofer) mode, only the A or B speaker can be selected. ERGO
is smart enough to make the A/B buttons mutually exclusive. Using
ERGO, it is possible to set ERGO up in Subwoofer mode. In
Subwoofer mode, ERGO makes the A/B buttons independent, so that
you can mute or enable the sub in
e software control panel selects the speaker mode. In default
Th
conjunction with the A speakers.
8
22.. EERRGGOO PPaanneellss aanndd CCoonnnneeccttiioonnss
FFooccuuss//GGlloobbaall
ERGO has two mod
es of operation; Focus and Global.
In Focus mode all of ERGO's processing power is correcting the
focus (sweet spot or mixing) position, correcting time and
frequency domain problems. Use this mode when mixing your
tracks.
In Global mode, ERGO's processing power is correcting a much
larger area, so it is only fixing frequency related problems. Use
this when you want an audience to hear the corrected room.
When the Focus/Global button is depressed for two seconds,
ERGO enters Bypass mode (indicated by the LED flashing). In
Bypass mode, audio is passing straight through with no
correction being performed.
VVoolluummee kknnoobb
big Volume knob adjust ERGO’s volume. Also, it will allow
This
you to adjust ERGO’s volume to a proper level, so it is adequate
for the calibration process.
22..33 SSiiddee PPaanneell
(Figure 2.2
)
HHeeaaddpphhoonnee ccoonnttrrooll
e right-hand side of ERGO, is a rotary knob that controls
On th
the headphone volume. Why the right-hand side you may ask?
Because 90% of the world is right-handed, and because most
mastering/control-room sections in the studio are located on the
right-hand side, and because the main Volume knob for ERGO
is on the right-hand side of the unit, making your hand
naturally rest on the headphone volume knob, yadda, yadda,
yadda…Basically, it just belongs there.
If ERGO is used in FireWire Audio Input mode, the headphone
output is a separate audio stream. So, your DAW can send a
monitor or custom headphone mix to this stream, and it can be
controlled independently using this little knob on the side of
ERGO. That’s really nice, isn’t it?
CCaauuttiioonn
ERGO’s headphone amplif
ier is l-o-u-d, loud.
We are not talking about “Oooh, that’s a bit loud” kind of
loud, we are talking “Oh my freaking head just exploded
due to the insane loudness coming through the cans!” kind
of loud.
and slowly raise the volume level.
Be very careful with this volume control. Start low
Also, ensure that your
system sounds are balanced with your DAW mix, or your
next wrong mouse click/error ping could implode your
melon. That would seriously be not cool.
Figure 2.2
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It’s time to get ready to set up your mixing environment. This
consists of 3 easy steps:
1) Set up your monitors - you may have already put them exactly
where you want them, but please read the next section as you
may learn something about monitor positioning that will ensure
you get maximum enjoyment out of ERGO.
2) Hook up cables - this is always fun as you will get to plug
things into and out of your ERGO. Follow the directions and you
will be rewarded.
3) Run the software - this is always not fun, as software is
typically horrible and causes all kinds of headaches. Thankfully,
ERGO’s software is simple to install and use, but it does require
that you pay attention to the instructions in this manual and on
your computer screen.
OK, let’s make sure your monitors are properly set up!
33..11 IInnssttaalllliinngg YYoouurr MMoonniittoorrss
Before
to install your monitors, it is a good idea to understand
what happens in your room depending on speaker placement
and other tidbits like that. You see, with ERGO, there’s a change
up in traditional loudspeaker placement rules – you can break
away from conventional “free space” placement. In general,
loudspeakers are placed well away from rear and side walls to
secure the best possible frequency response. Considering that a
traditional box loudspeaker has omnipolar dispersion in the
bass region, this “free space” placement has a big
disadvantage since it is possible to destroy the impulse response.
The reason for this is that you hear both the direct sound from
the speaker and later all the reflections from the walls. The
reflections are delayed as a consequence of the distance to the
walls and will end up arriving later...think the smeared “attack”
of a snare drum that you may have heard in the past, for
example.
Typ
ically, back wall reflections are annoying because they
arrive from the same direction as the direct sound from the
loudspeaker. Side wall reflections are easier for the brain to cope
with simply because they arrive from another direction and
because of this, they are often regarded as adding ambience
and localization clues. If you place the loudspeaker close to the
back wall, the bass reflections from the wall and the direct sound
will arrive simultaneously at your listening position.
Impulse response in the bass region can be improved
considerably since ERGO can easily compensate for the uneven
frequency response as a consequence of the placement. With
ERGO, it can actually be to your advantage to place your
loudspeaker in a less than ideal “close wall” spot as this will
improve the impulse response while ERGO corrects it. In
addition, when compensating for the increased efficiency, the
load on both amplifier and loudspeaker is decreased meaning
that less distortion and better headroom are achieved. Taking
energy out of the system also has another advantage since
pumping less energy into the room means that room modes are
less excited. So, you achieve a much more even power response
across the room – That is the differences between peaks and
dips in the response are reduced dramatically.
In a case like this, the room correction index will also be quite
high since correction in the bass region is needed. However, the
index number is not high because you have a “poor system” it’s
high just because you have chosen a loudspeaker position that
improves the impulse response but then requires
compensation for the increased efficiency in the bass region. Try
it out and see what works for you – near wall or “free space”
placement – ERGO works in both cases.
The close-field monitor, by definition, reduces room interaction.
This can be compared to the conventional stereo configuration
or the large monitor arrangement in a recording studio where
sounds emanating from the monitor or reflecting off ceilings,
walls, and floors greatly affect the sound quality.
10
60°
60°
Focus / Listening Position
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60°
60°
Focus / Listening Position
By shortening the path to the ear, the close-field monitor offers
a tremendous amount of flexibility, allowing the sound to
become less susceptible to differing room conditions. The
ability to adjust the high characteristics is equally important to
help compensate for room irregularities and achieve the highest
sound accuracy.
A room that is heavily dampened would typically require a slight
high frequency boost. Likewise, reducing the high frequencies
can alter a reverberant room.
Placing the monitor close to a rear wall, side wall, or a corner
will reinforce the low frequencies. Generally speaking, if you
move them two to three feet away from walls and corners, you'll
hear less low frequency interaction (excluding any interaction
with the mixing console).
There. That wasn’t so bad, was it? You did good.
33..22 PPoossiittiioonniinngg YYoouurr MMoonniittoorrss
Positioning your monitors corre
ctly in the studio is critical to their
performance. Typically, they should be placed so that that the
listening position is fully “covered” with all monitors resting on
the same horizontal plane. To test a monitor for its imaging
capability, playback a song that includes acoustic instruments, to
fully represent the entire sound spectrum.
TTwwoo--CChhaannnneell SSeett UUpp
• Near-Field Configuration
– In a control room situation, the
monitors are often times placed on the meter bridge or in a
close-field listening position. Initial placement starts by
measuring out a simple equilateral triangle (all three sides equal
in length) with the apex at the center of the listening position as
an “overlay” for the stereo installation. In this configuration, the
Left and Right monitors are each placed at a 60° angle,
equidistant from the listening position. (Figure 3)
Figure 3
• Mid-Field Configuration
– This configuration is similar to the
close-field configuration. It is normally used with larger monitors
or when the monitors are too large or heavy for the meter
bridge. This set up has the potential for a larger sweet spot and
better spatial imaging. Make sure that the height of the woofer
is above the height of the console. (Figure 3.1)
You can adjust the angle of each monitor by listening for dead
spots. Keep in mind, changing the angle or position of a
monitor will change the way that you perceive your music. So lets
analyze a few examples;
Figure 3.1
11
Subwoofer
Left
Right
Focus / Listening Position
33.. SSeettttiinngg uupp EERRGGOO aanndd yyoouurr MMiixxiinngg EEnnvviirroonnmmeenntt
AAddddiinngg aa SSuubbwwooooffeerr
Begin by
determining the best location for your subwoofer. If
possible, the optimum set up would reflect that shown in Figure
3.2; however, this set up may not be practical, or possible, in
your room. Once you have set up your monitors, listen to
program material that you know contains low frequency
information. If your subwoofer has a phase switch, adjust the
subwoofer to provide the highest frequency setting possible. Flip
the switch back and forth to find the loudest setting. Then adjust
the sub’s low pass filter so that it works in conjunction with the
satellite’s high pass frequencies. When you have finished,
readjust the level of the sub. (Figure 3.2)
1) Plug ERGO into your computer by connecting it to the
FireWire port. ERGO ships with a 6-pin FireWire cable that
supplies both power and data. If you are using a laptop that has
a 4-pin FireWire cable, you’ll need to dig up an adapter cable
to use ERGO.
2) Plug in ERGO’s Microphone adapter cable. This is the little
XLR to 1/4” TRS cable that shipped with ERGO.
3) Go into that box in the corner of your room and dig up your
best XLR mic cable. Make sure it is about the length of the longest
dimension of your room. Also make sure it is your BEST cable
and it is in working order. Plug this into the ERGO’s XLR-1/4”
adapter.
4) Plug in ERGO’s microphone into your best cable that you
installed in the previous step. Place the microphone in your best
microphone stand, you know, the one in the other corner of your
studio. Put this aside for the time being.
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Now you
cables is always a rewarding experience, as the gratuitous
“thunk” of a cable seating into a jack provides a sense of
accomplishment, both aurally and tactically. So here are the
steps for hooking things up:
Make sure power is Off at your monitors/amplifier, computer,
and ERGO’s power switch is Off. This is an important step.
Please follow it to ensure things go smoothly.
Figure 3.2
get to plug things into ERGO. Plugging in audio
Figure 3.3
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