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Schlieren posted:Because everyone's opinion has been pre-colored by years and years of listening to music recorded with no semblance of concern for what makes a sonically cogent opus, leading to a mutually consensual aural bias similar to language drift?
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| # ? Sep 30, 2010 08:16 |
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| # ? May 24, 2013 19:03 |
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But if I can't justify my own personal tastes and preferences with double blind studies then the frequency plots are all I have! Hold me....
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| # ? Sep 30, 2010 09:06 |
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~~welcome to the post modern~~
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| # ? Sep 30, 2010 09:38 |
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wixard posted:If you actually read the thread RivensBitch linked for the reasons he linked it (hint: it wasn't to prove Apogee converters are awesome), you would have noticed that the overwhelming majority of people chose one particular converter. Upon analysis it was revealed that the converter most of them chose was the most colored converter in the group, adding distortion and compression to the mix in the form of transformer saturation and mildly high-passing the whole thing. Can you explain why a forum of mastering engineers preferred the converter that would probably have had the least transparent frequency plot? Ok I should probably come clean here - part of my grad research involves the use and occasional profiling of high-bandwidth ADC/DACs for instrumentation/measurement and I have a background in EE, so I have total bias in favour of trying to keep things scientific. If a company can make a tape-y sounding converter then that's pretty cool, and it's clearly a different market to a super clean, transparent job.
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| # ? Sep 30, 2010 13:04 |
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Science is awesome. But we're using science to make art. Art needs to be subjective, otherwise it has nothing to say. For an engineer, that means being able to use your ears to make confident decisions. That doesn't mean you can't also factor in objective truths like plots and graphs, but at the end of the day you have to make a choice. I was just discussing this with a photographer friend of mine, and the comparison he made is that anyone can set up a camera, point it at something and click. What makes a good photographer isn't f stops, shutter settings, or even composition. Those are objective skills and techniques that a photographer should understand and master, and anyone can study and learn them in a textbook. It's the subjective decisions of what to shoot, where to shoot it, and most importantly, WHEN to snap the photo, that make a good photographer. I see many budding and not-so-budding engineers, on this forum and in real life, fall into the trap of not trusting their own subjectivity, and not respecting the subjectivity of others unless they're Rick Rubin or Prince or something. It's good to be humble when you're learning the ropes, but at a certain point you have to jump out of the nest and put some skin in the game. Engineers above all people need to trust their ears and be able to make decisions based on what they hear. Once you've formed an opinion, then you can turn to objective things like frequency plots to back it up, if you choose to take that path, but if all you're doing is reading specs on websites and regurgitating what you've learned in grad school, well... maybe you need to get some more experience. I know that sounds like a dickish thing to say, but what are you contributing to the conversation if all you're doing is reading the same freq plots and marketing materials that we all have at our disposal? edit: And being in grad school and working with ADC/DAC converters, I might be repeating something you already know so forgive me if I'm talking out of turn; but having an EE background as well as a background in the marketing and sale of audio equipment, let me tell you - those graphs that most of the manufacturer's put out are bullshit. The only ones who are being honest are the ones who have nothing to hide. I've been to the testing facilities at Shure, they have two of the largest privately owned anechoic chambers in the US and they test their own equipment on site, as well as the equipment of their competitors. It's hard to outright accuse anyone of faking their frequency plots when you can't even get two of their products to match each other in testing, let alone the published plot. The consistency just isn't there. An SM58 tests the same every time, from mic to mic. If our competitors could just take the same components and make the same thing and charge less, why don't they? Why is it that some of our competitors can only offer stereo pairs of their mics by testing and matching them after they've been manufactured? (Shure just puts two in a case). There is no phantom markup. You get what you pay for. Testing, quality control, superior design of not only the product but of the manufacturing methods. edit 2: schooled me on the usage of subjective/objective, bolded the corrections RivensBitch fucked around with this message at Sep 30, 2010 around 19:58 |
| # ? Sep 30, 2010 17:06 |
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RivensBitch posted:And being in grad school and working with ADC/DAC converters, I might be repeating something you already know so forgive me if I'm talking out of turn; but having an EE background as well as a background in the marketing and sale of audio equipment, let me tell you - those graphs that most of the manufacturer's put out are bullshit. The only ones who are being honest are the ones who have nothing to hide. I've been to the testing facilities at Shure, they have two of the largest privately owned anechoic chambers in the US and they test their own equipment on site, as well as the equipment of their competitors. It's hard to outright accuse anyone of faking their frequency plots when you can't even get two of their products to match each other in testing, let alone the published plot. The consistency just isn't there. An SM58 tests the same every time, from mic to mic. If our competitors could just take the same components and make the same thing and charge less, why don't they? The answer is they can't. There is no phantom markup. You get what you pay for. I mentioned this a couple of times, if published specs are bullshit then you definitely have to measure or listen for yourself. quick edit to clarify my own experience: if you're buying components and they test out-of-spec then that's your money back right there. I'm more used to manufacturers making conservative claims instead of hyping bs
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| # ? Sep 30, 2010 17:28 |
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the wizards beard posted:I mentioned this a couple of times, if published specs are bullshit then you definitely have to measure or listen for yourself. In your experience, which manufacturer's make conservative claims? Do you actually test the equipment you buy with scopes and plots?
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| # ? Sep 30, 2010 17:45 |
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RivensBitch posted:In your experience, which manufacturer's make conservative claims? Do you actually test the equipment you buy with scopes and plots? It's usually stuff I'm building, so I'm buying from electronic component manufacturers, not buying a huge amount of stuff off the shelf. Every thing I build gets tested and profiled, yep. Shouldn't really be publishing if you can't justify the data.
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| # ? Sep 30, 2010 17:58 |
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Are you publishing for peer review, or to sell product? One demands honesty, the other results.
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| # ? Sep 30, 2010 18:58 |
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RivensBitch posted:RivensBitch, you're awesome and super knowledgeable, but your post is sort of unclear on what "objective" and "subjective" mean. Or at least, you have them reversed at some times and the right way around other times. Science is objective, art is subjective. Also, you guys, this is the entry level interface thread. I do not want to backseat mod or anything, but shoot, isn't there a recording megathread? Edits so (ideally) I sound like less of an rear end Manky fucked around with this message at Sep 30, 2010 around 19:53 |
| # ? Sep 30, 2010 19:50 |
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poo poo you're right, the first paragraph I had them backwards. Thanks for the correction, I updated my post. Unfortunately this thread from the beginning has been prone to derails, I wont deny my involvement. To get us back on topic, guess what's now shipping and available for purchase?  I mentioned them a few pages back, and now have the blackjack in my hands. Build quality is GREAT, it's a very simple box that's very straightforward. The ergonomics are nice, all connections in the back, controls at the right angle for desktop manipulation. I'm going to plug it into my MBP on my lunch to see how it sounds, it supposedly has awesome converters (the published specs are better than presonus, look I'm eating my words!)
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| # ? Sep 30, 2010 20:08 |
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RivensBitch posted:poo poo you're right, the first paragraph I had them backwards. Thanks for the correction, I updated my post. This thing looks awesome and sturdy as gently caress. P.S. RivensBitch, where do we ask you to tell us about TC Helicon's new voice looper box thingie?
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| # ? Sep 30, 2010 20:42 |
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AriTheDog posted:This thing looks awesome and sturdy as gently caress. P.S. RivensBitch, where do we ask you to tell us about TC Helicon's new voice looper box thingie? We're getting one soon, I can do a writeup when it gets here.
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| # ? Sep 30, 2010 21:39 |
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I've got a Fireworx. I love good FX processors and it's one of three really kickass ones i've spent entirely too much money on. I bet that USB interface will sound pretty damned decent. I actually have an Onyx 1620 in my studio with the FW attachment and I don't think it sounds better/worse than my fireface. Just......different, really. Little more coloured.
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| # ? Sep 30, 2010 21:58 |
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wixard posted:Now please explain how everyone's pre-colored notions of a sonically cogent opus are actually wrong in the face of objectively cogent frequency response plots provided by the manufacturers of interfaces. I don't know anything about interfaces 
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| # ? Oct 1, 2010 00:25 |
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RivensBitch posted:We're getting one soon, I can do a writeup when it gets here. I'd love to read about it. I'm considering getting a Kaossilator Pro to use for live looping, but the Helicon looks pretty sweet.
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| # ? Oct 1, 2010 03:56 |
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Here is my lunchtime review of the Mackie Onyx Blackjack 2x2 interface. To get started, I freed the interface of it's cardboard and plastic prison. The build quality is great, it's a nice metal box, the angle is perfect to get to the knobs, the connections are in the back and out of the way of my workspace. The knobs are as smooth and secure as a Mackie Onyx mixer, they've kept to those standards and I like it. I'd feel real comfortable tossing this into my backpack and taking it on the road, a plane, etc. The interface didn't come with a driver CD, which saved me the task of tossing it and it's sleeve into the trash. Who doesn't prefer to download drivers these days? So I download the "universal driver" from the Blackjack page at Mackie.com, and go to install it only to realize it's PC only. So I load up the audio/midi preferences in Snow Leopard, plug in the USB cable, and sure enough - instant detection of the blackjack in core audio, no install needed. NICE. Next I plugged in a mic, my Shure E5 earphones, and fired up Ableton Live. Here is what things look like so far:  The first thing I look for in an audio interface is the latency and stability of the driver.  27ms at 512 samples (44.1k), not bad. I cranked it down to 128 samples and the overall Latency was 9.59ms. Adjusting the "TO MON" knob produced only a very slight flanging effect. This is great, but let's throw something at it other than an empty session.  Here is the beast that is my band's Ableton Live set. There are ten songs loaded into this set, each with their own tempo changes. Every song is made up of a different combination of elements, including soft synths and pre-recorded audio tracks. There are also 9 input monitored audio channels that are fed from our mics used at rehearsal and on stage. Here is the track listing of the entire session (the track number is in parenthesis, description following it including the tracks contained within the track if applicable): (01) Soft Synth - Click track (drum rack with hihat and kick drum samples) (02) Group Track - Backing tracks (four stereo audio tracks (07) Group Track - recorded keyboards (our keyboardist moved to Japan, contains two audio tracks) (10) Group Track - Synths (6 ableton soft synths, mix of Operator and Analog) (17) Group Track - Percussion (4 soft synths, all drum racks/samplers) (22) Group Track - Live Drums (Audio tracks, input monitor on. Kick, Snare, Overhead. From my acoustic drum kit, used for IEM monitoring, recording shows, and even some real time FX sends) (26) Group Track - Live guitars (Bass, Guitar 1, Guitar 2. Just for monitoring and recording) (30) Group Track - Live vocals (1 lead and 2 backup, one prerecorded track for reverse vocal effects, and a dedicated FX channel that takes it's input from the lead vox. The FX channel has an audio effect rack that includes parallel chains of Thickening/detune (four voices), 6 delays of varying times (tempo based of course), and a TC powercore VSS3 reverb. All of these have automation lanes that are programmed for each song. (And if you're wondering, this is a shoegaze band so vocal effects are king). (36) Midi Track - has a single max 4 live midi plugin that consolidates the sends of key channels for in ear monitoring. It also has an iPhone interface which can be pretty handy.  (37) Audio Track - "Tracks Out". Anything that goes to the house PA has it's output set to this track. So this is basically a sub master, and gives me quick control of which output I use to give the house our backing tracks. (38) Audio Track - "FX Out". Same thing but for FX. Redundant right now as I've removed the drum effects sends I was using previously, they need to be redesigned and are a low priority. And then there are (3) sends, one is IEM for the lead vocalist, one is for my IEM (I'm the drummer), and then one is for an external TC M300 rackmount FX processor that I use with Ableton's analog FX interface plugin. I normally use this set with a TC Konnekt interface that is clocked to an Apogee. Just writing this up on my lunch while at work, I wasn't able to compare the sound of the two side by side, but what I will say is this - the Mackie interface is very stable. I record the live mic channels during rehearsals, so I set those channels to monitor playback and set the lead vocal to input 1 on the Blackjack. At 128 samples and a 9.59ms system latency, I had a clear, uninterrupted vocal channel, stacked with real time automated effects, and it sounded awesome. At 64 samples, yielding a 6.69ms overall system latency, I still was able to run through tracks with no audio dropouts, and crystal clear sound. Even more impressive, I set the ableton global quantization to none, and was able to in real time jump back and forth between songs while singing and get no dropouts. Even with different soft synths and audio tracks being utilized on each song. Playback never dropped out, and the sound both from the mic and from the headphone amp were great. It can’t be emphasized enough how harrowing of a task it is to randomly click on the timeline of a set like this during playback and have no dropouts. It’s not something I would do while performing, but it has some seriously awesome implications when it comes to live DJs and electronic musicians who need rock solid performance in a live setting. Because of the complexity of the task, most people doing what I'm doing would probably rather use a Mackie Blackbird, and a review using all of the real time inputs and the monitored outputs would require one. But while the Blackjack is going to be marketed to live performers and recordists who have smaller I/O requirements, if it can keep up with the demands of a session like this then it can keep up with anything. One of the big features touted about these new interfaces is the sound quality, which with my limited time (on lunch at work) I didn't really delve into. That said I have an Onyx mixer in my studio and am familiar with their sound, and you get the exact same sound with this interface. A good clean signal with just the right slight hint of coloration that makes it sound really good while being very versatile. The band used the Onyx pres in our board to record most of the tracks on our last record, and just yesterday I was speaking with our mastering engineer who paid us a very high compliment, saying the record is one of the best sounding records that he had worked on this year. The converters are rated and spec'd better than it's competitors (m-audio and presonus). As mentioned I didn't have time to do an a/b against my TC clocked to my Apogee, but given the price points and the introductory interface label on this thread, I don't think that'd be too useful. I will say that with a Shure Beta 57 plugging into the interface, monitoring in Shure earphones, everything sounded great to my ears. My verdict? If I was in the market for a 2 channel, bus powered USB interface, this is the one I'd buy, hands down. Stability, durability, and great sound. RivensBitch fucked around with this message at Oct 1, 2010 around 21:39 |
| # ? Oct 1, 2010 21:15 |
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As far as the build goes, I was just sent the following link where they use a Blackjack to physically destroy an M-Audio fast track. http://www.youtube.com/watch?v=YmB5qlSrBJU
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| # ? Oct 1, 2010 23:05 |
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Good to hear the Blackjack is nice. I'm basically trying to decide between a Focusrite Saffire Pro 40 and the Mackie Blackbird. Each of them have their pluses and minuses, and I'm still sort of weighing them. For one, I don't want to have to plug my guitar in the front jack to use it as an instrument jack. (I might not have to do that to begin with, but I know dick about interfaces, hence my constant  ing of this thread). That concern benefits the Mackie (I think), but driver quality and lesser outputs benefits the Focusrite.Someone make my decision for me, so I can hold you accountable when I inevitably hate myself for only spending $500 on an interface.
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| # ? Oct 2, 2010 04:50 |
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This looks like a decent contender: http://www.avid.com/US/products/Pro-Tools-HD-Native
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| # ? Oct 7, 2010 20:22 |
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"Pricing and Availability The Pro Tools | HD Native system will be available worldwide November 5 starting at $3,495 USD. Pro Tools | HD Native will also be available bundled with Pro Tools HD OMNI I/O starting at $5,995 USD. For regions outside of the U.S., please see your local retailer for pricing. For more information on features and availability, visit: http://www.avid.com. " Already ordered 3 for the house and 1 for the car. At that price how can you resist?
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| # ? Oct 7, 2010 20:46 |
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To be fair, that's almost half what a Core 1 card cost back in the day. Just remember, the card doesn't work without an interface and they start at $2000. Also if you can get the right loan, buying a used HD system isn't a bad place to stuff your money for a few years. I dropped $15k on an HD2 with an expanded 192i/o and a control 24, and three years later sold it for $17k. Paid back the loan, kept all the money I'd made using it at my studio (after making payments on the loan), and used the extra cash to buy an Apogee Rosetta 800 and an 002 rack.
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| # ? Oct 7, 2010 21:08 |
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So I got the TC DK 6 and really like it. It's got some issues with dropping out/popping when I use Flash(OSX), but apparently I need to reinstall the drivers and reboot the computer in a very specific order to fix that. It upsets me, but I believe it's fixable as there is this on their website: http://tcsupport.custhelp.com/cgi-b...hp?p_faqid=1988 The pre's are super clean, but the main thing I love is the physical user interface. The high res meter which can be redirected to input, pre and post is great, and all of the buttons i need are there. Also the scene based system is great. With my Presonus, I was always switching the 1/4" jacks for the XLR jacks. On this one, I can leave my mic and my mixer permanently plugged in. Review = Thanks Rivensbitch! Also, the youtube video of smashing the M-Audio is hilarious! I like how deadpan they played that.
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| # ? Oct 7, 2010 22:30 |
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RivensBitch posted:To be fair, that's almost half what a Core 1 card cost back in the day. Just remember, the card doesn't work without an interface and they start at $2000. This is really good advice (buying used). People trade up and down on interfaces all the time and a lot of models hold their value well and a lot hold it poorly. There are definitely deals to be had, especially if you're bringing in money by recording
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| # ? Oct 8, 2010 12:15 |
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Gorilla Salsa posted:Good to hear the Blackjack is nice. I'm basically trying to decide between a Focusrite Saffire Pro 40 and the Mackie Blackbird. Each of them have their pluses and minuses, and I'm still sort of weighing them. For one, I don't want to have to plug my guitar in the front jack to use it as an instrument jack. (I might not have to do that to begin with, but I know dick about interfaces, hence my constant
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| # ? Oct 9, 2010 10:30 |
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The blackjack only has two inputs and it's input monitoring for both is on a knob. The blackbird has a software controlled mixer that gives you direct monitoring from any input to any output.  And as mentioned above, the driver is rock solid (at least in coreaudio) so you can always run the latency at 6ms and not worry about direct monitoring
RivensBitch fucked around with this message at Oct 9, 2010 around 15:34 |
| # ? Oct 9, 2010 15:30 |
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Has anyone used an Edirol UA-25? I just found a used one for $180 and am wondering if it's a decent unit for the price.
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| # ? Oct 14, 2010 05:47 |
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I'm looking into running my guitar through my computer and some kind of amp simulator to practice at night without disturbing my children. I'm also sort of keen on the idea of having an interface that will suit me pretty well if in the future I decide I want to start recording with it. Anyway, I've seen a few audio interfaces at fairly low price points that seem to me to be okay, so I was hoping I could get some guidance on them from you guys. I've split them up into really cheap, and pretty cheap, and was wondering what which ones would be your picks at each tier:- Also - these these prices include shipping to Australia - there are a lot more out there that I simply can't get hold of for a reasonable price in Australia/will not import here. And for what its worth, I'm running Windows 7 64 bit, an i5 760 processor, 4 Gb Ram, in case that would influence my decision on which one to get. Really Cheap:- Line 6 Studio UX1 - $160 Amazon.com http://line6.com/podstudioux1/ Pros - comes with guitar amp software, 1 1/4" input 1 XLR input Cons - only 48khz recording, not many input/output options, E-MU 0202 - ~$140 4beatz.com http://www.emu.com/products/product...1&product=15186 Pros - 192khz recording, 1 1/4" input 1 combo input Con - Have heard older horror stories of lovely drivers in Vista 64 bit. So out of those two - which one would you get? Pretty Cheap:- Line 6 Studio UX2 - $210 Amazon.com http://line6.com/podstudioux2/ Pros - comes with guitar amp software, 2 1/4" input 2 XLR input, has cool dials. Cons - only 48khz recording, no midi interface, 2 channel only Alesis IO2 - $190 4beatz.com http://www.alesis.com/io2 Pros - 2 1/4", 2 XLR inputs, midi interface Cons - 48khz recording only, 2 channel only M-Audio Fast Track Pro - $240 4beatz.com http://www.m-audio.com/products/en_us/FastTrackPro.html Pros - 2 combo inputs, midi, Cons - 48khz recording, heard horror stories on 64 bit drivers for their older gear E-Mu 0404 - $230 4beatz.com http://www.emu.com/products/product...1&product=15185 Pros - midi, 2 combo inputs, 192khz recording Cons - Have heard older horror stories of lovely drivers in Vista 64 bit. Saffire 6 USB - $210 Proaudiostar.com http://www.focusrite.com/products/a...s/saffire_6_usb Pros - 2 combo inputs, midi Cons - only 48khz recording. So, which ones would you recommend, which ones would you avoid like the plague? edit: had written disturb my computer instead of disturb my children. Loquitor fucked around with this message at Oct 17, 2010 around 00:46 |
| # ? Oct 16, 2010 08:51 |
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While I can't comment on any of the interfaces in your shortlist, I wouldn't be concerned about their highest possible sample rates being "only 48kHz".
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| # ? Oct 16, 2010 10:59 |
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He's got a powerful machine. Higher sample rates equal lower latency. Playing a guitar live like that is one of the cases where latency is pretty important. It's not critical, but why limit yourself? Especially in the days of high res lossless compression where 44.1/16 may not be the destination format.
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| # ? Oct 16, 2010 15:22 |
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My beefy session mentioned earlier is plenty stable at 44.1k and 6ms. In my experience it's easier to get a stable setup using a smaller buffer at 44.1 than to use the same buffer at twice the sample rate.
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| # ? Oct 16, 2010 16:31 |
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Oh yeah, totally. Your demo session is the perfect example of when I'd switch to 44.1 for ensured stability. There's a bunch of tracks and number crunching going on. Just dicking around on my guitar (which is about all I can do with it) or scratching to a beat or only running a handful tracks doesn't cause any trouble for me at higher sample rates. Why not have the option? If the drivers are poo poo, then whatever, but if they aren't it's worth the money for a modicum of flexibility. Granted, a $200-$300 2x2 interface probably isn't going to be the last interface you ever buy if you pursue recording, but for a beginner imho it's at least nice to see what all the fuss is about with high res tracking. The benefits AND the drawbacks. You and I have worked on higher quality gear. We know the differences, a newb might not.
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| # ? Oct 16, 2010 19:55 |
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SO I've spent a bit more time researching, and the E-MU 0404 doesn't have windows 7 drivers even planned for it it seems, also, it gets a bit of criticism for it's preamps, so I've ruled that out. I'm down to 2 choices, the Saffire 6, and the Alesis IO2 portable. I've heard a lot of love in this thread for the Saffire, does anyone have any experience with the Alesis?
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| # ? Oct 17, 2010 01:01 |
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The TC Desktop Konnekt 6 or the Onyx blackjack, both discussed on this page would work well for you. I have the TC and it's great for practicing or recording with headphones.
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| # ? Oct 17, 2010 02:41 |
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TC Desktop is firewire, which I don't have - yeah I know firewire cards are cheap, but I also can't get it for a really good price shipped over here, and with the cost of a card pushes it all up a bit more than I'm willing to spend. The Onyx was on my list to look at, but I couldn't find anyone who would export it to Australia for a non-exorbitant price.
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| # ? Oct 17, 2010 05:12 |
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I've got a Line6 UX2 that I mainly use for playing guitar with Amplitube or Overloud or anything like that, and I like it well enough, but it just makes me wonder... I'm sure it's not an amazing-sounding unit by any stretch, but for ~200 bucks, could you do a lot better? I don't have any problems with it, but it's the only interface I've ever had, so I wonder if I'm missing out.
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| # ? Oct 20, 2010 02:19 |
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Just wanted to chime in again about the EMU 1616m (possibly again, I can't remember if I posted here before). If you anticipate that your recording needs will grow (say, you eventually want to record with a band instead of just yourself), I highly recommend skipping whatever 2 input $200 device and go for something more substantial. I went with the E-MU 1616m (PCI-E) for about $450, initially expecting to just use it for recording myself. But it turned out that it's entirely possible to use it to record a whole band, set up pretty complex routing, and use hardward based DSP during monitoring without a latency hit. Great stuff. Right now it's being used to record our band practices using 4 mics and one DI (bass amp's line out). We mostly use this set up to record and adjust levels on our practice takes which on good days then become demos. Bear in mind that we needed 2 extra pre-amps for 2 of the mics, but the ART Tube MP is $30, so not really a big deal at all... once you catch the gear aquisition syndrome). Highly recommend this interface, drivers worked perfectly in both Windows XP and 7 32 and 64 bit. It also has an ADAT input that allows for an additional 8 (afaik) inputs using something like a Behringer ADA8000 ($200ish). e: Also, I should mention the flexibility you get with a breakout box. It's connected to the PCIe card via standard cat5 network cable. At my last apartment, I had it set up so that the PC in my bedroom upstairs was connected to the breakout box in the garage with a 100ft network wire (with no extra latency, noise issues, etc). I used a laptop w/ wireless to manage the session via remote desktop. That way I didn't have to give up my bedroom porn/Starcraft 2 machine, and I didn't have to go with some inferior card designed for a laptop. procrasturbate fucked around with this message at Oct 20, 2010 around 17:28 |
| # ? Oct 20, 2010 17:22 |
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procrasturbate posted:Just wanted to chime in again about the EMU 1616m I sold the PCMCIA version of this for €120 a little while ago. Buy used people!
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| # ? Oct 20, 2010 17:36 |
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AriTheDog posted:Another popular option is ToonTrack EZ Drummer. You might consider asking in the Hip Hop thread with a little more on what exactly you're looking for (budget, type of music you play, likely performance scenarios) because there seems to be a lot of people in there with a TON of experience with drum machines, especially software ones. Good luck! +1 I've been using EZDrummer for a bit over a year now and I really like it. I use it through Reaper (which is free with the option to buy). I also purchased the drumkit from hell upgrade, but for me at least I'm not so sure it was worth it. I don't like any of the snares, kicks, or hi-hats on the DKFH, I only use the toms and some of the cymbals. But yeah, standard EZDrummer kit is pretty nice, and with a little tweaking (EQ and reverb) you can get some really fantastic sounds from it. I recently picked up a Presonus Audiobox USB for $150 (free shipping) and I'm pretty happy with it, once I got it working. The drivers are known to be really glitchy. The drivers that came on the included CD didn't work, it would freeze up my DAW and skip right in the middle of recording. Every time I tried updating my drivers, it would crash my computer, via the blue screen of death. Turns out the solution was pretty simple, albeit slightly retarded. I had to fully uninstall the original drivers and install the new ones downloaded from the website (actually I had to do that 3 times before it installed properly). Updating doesn't work, it requires a fresh install of the new drivers. Once I did that it works great. It's a simple, basic box, but it's completely sufficient for my purposes. I've even just plugged a bass guitar right into it and recorded some basslines with satisfactory results.
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| # ? Oct 21, 2010 18:49 |
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| # ? May 24, 2013 19:03 |
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Went with the TC Konnekt 6 in the end - found a place that would ship it to me for ~$170 all up, which is about $180 cheaper than RRP here, and made it the cheapest one I was looking at pretty much. Now I've gotta buy a firewire card whilst I wait for it to get here.
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| # ? Oct 25, 2010 09:20 |
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