Audio interfaces

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If you are recording any type of audio sounds to your productions from vocals to acoustic guitars, hand percussion & more then you need a microphone & nowadays the amount of choice is staggering...
Travel back just 20 years to the end of the 1990's and if you bought a microphone it'd usually be from either the American company Shure, the Japanese company Audio-Technica or the Germans who previously dominated quality microphone production via companies like AKG, Sennheiser, Beyerdynamic & Neumann.

But things changed as we enetered the 1990s. Smaller companies started appearing offering low-cost but quality microphones usually sourced in China and then imported & modified to create some serious cost competition for the old legacy companies. One of the first of these was Australian company Røde who brought their NT-1 to market followed by the NT-2, both mic's soon established themselves as budget high-quality products, with Røde shifting to manufacture most of the components in Australia but their mic's still used Chinese parts to some extent.

As we reached the end of the 1990s the Chinese revolution started to seriously take off with a wide range of Chinese-made mics appearing all over western markets, either imported with the Chinese manufacturer's name or with the western company branding simply added at the Chinese factory. The Chinese factories truned out visual clones of all the famous American, Japanese & German mics, but with inferior components & electronics, but the die was cast & soon all the lower-cost models from all the big legacy companies were being manufactured in China too. The upshot of all this was that good quality microphones, particularly large diaphragm vocal condenser mics finally became affordable for the masses in their home studio setups.
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Early soundcards

In essense a microphone converts sound wave vibrations - the music or other audio sound source - into an electrical signal which is then amplfied and fed into the recording or live system via a microphone pre-amplifier. The part of the microphone which converts the mechanical energy (soundwaves) into electrical energy (the mcirophone signal) is called the Transducer. Microphones use different transducer types & each type has it's own characteristics.

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Early soundcards (the Soundblasters)

Adlib synthesiser card

AdLib card released in 1987 - 8-bit ISA

Adlib soundcard

AdLib card released in 1990 - 8-bit ISA

Soundblaster 1.0

Sound Blaster 1.0, CT1310, CT1320A, CT1320B released in 1989 - 8-bit ISA

Soundblaster 2.0

The final revision of the original Sound Blaster, the Sound Blaster 2.0 was released in October 1991 -  8-bit ISA

Soundblaster Pro 1

Model CT1330, announced in May 1991, was the first significant redesign of the card's core features, and complied with the Microsoft MPC standard. The Sound Blaster Pro supported faster digital input and output sampling rates (up to 22.05 kHz stereo or 44.1 kHz mono), added a "mixer" to provide a crude master volume control (independent of the volume of sound sources feeding the mixer), and a crude high pass or low pass filter. The Sound Blaster Pro used a pair of YM3812 chips to provide stereo music-synthesis (one for each channel). The Sound Blaster Pro was fully backward compatible with the original Sound Blaster line, and by extension, the AdLib sound card. The Sound Blaster Pro was the first Creative sound card to have a built-in CD-ROM interface. Most Sound Blaster Pro cards featured a proprietary interface for a Panasonic (Matsushita MKE) drive. The Sound Blaster Pro cards are basically 8-bit ISA cards, they use only the lower 8 data bits of the ISA bus. While at first glance it appears to be a 16-bit ISA card, it does not have 'fingers' for data transfer on the higher "AT" portion of the bus connector. It uses the 16-bit extension to the ISA bus to provide the user with an additional choice for an IRQ (10) and DMA (0)m channel only found on the 16-bit portion of the edge connector.

Soundblaster Pro 2

The revised version, the Sound Blaster Pro 2, CT1600, replaced the YM3812s with a more advanced Yamaha YMF262 (OPL3). Otherwise it is functionally identical to the original Sound Blaster Pro. Shortly after the release of the Sound Blaster Pro 2 version, Creative discontinued the original Sound Blaster Pro.

Soundblaster 16

Sound Blaster 16 (June 1992), the successor to the Sound Blaster Pro, introduced CD-quality digital audio to the Sound Blaster line. For optional wavetable synthesis, the Sound Blaster 16 also added an expansion-header for add-on MIDI-daughterboards, called a Wave Blaster connector, and a game port for optional connection with external MIDI sound modules via a connecting MIDI cluster cable.

Soundblaster AWE32

The Sound Blaster AWE32 is an ISA sound card from Creative Technology. It is an expansion board for PCs and is part of the Sound Blaster family of products. The Sound Blaster AWE32, introduced in March 1994, was a near full-length ISA sound card, measuring 14 inches (356 mm) in length, due to the number of features included.

Soundblaster AWE64

The Sound Blaster AWE32 is an ISA sound card from Creative Technology. It is an expansion board for PCs and is part of the Sound Blaster family of products. The Sound Blaster AWE32, introduced in March 1994, was a near full-length ISA sound card, measuring 14 inches (356 mm) in length, due to the number of features included.

Soundblaster Live

1999 - The Soundblaster Live was the final card of the Soundblaster series which anyone bought for music production. ASIO4All etc

‍is an ISA sound card from Creative Technology. It is an expansion board for PCs and is part of the Sound Blaster family of products. The Sound Blaster AWE32, introduced in March 1994, was a near full-length ISA sound card, measuring 14 inches (356 mm) in length, due to the number of features included.

Early Soundcards

The Akai MPC series is a much misunderstood product line. From the first model released - the MPC-60 - the MPC series were designed & marketed as a hardware sequencer AND sample based drum machine, all in one, designed to be the center piece of a MIDI based studio.

At the same time as Akai updated & released subsequent MPC models they also released their fully-featured rack & keyboard 'S' series samplers, with the MPC's always having the primary role of being a sample drum & loop player with combined hardware sequencer all they way through until the early 2000's at which point finally Akai started to bring what you'd call full sampler features to the MPC series and from that point forwards Akai samplers & their MPC series started to become interchangable as full fledged samplers allowing mapped sample sets with velocity layering and all the things you'd expact from a fully fledged sampler.

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Early classic soundcards & interfaces

These are the earliest ISA & Mac Nubus cards & related interfaces from 1989 until the mid 1990's, before PCI slots & PCI Busmaster cards appeared. Apple replaced the Nubus format with PCI in mid 1995 & Windows machines only fully switched to PCI slots in 1996.

Digidesign Audiomedia II

1992 £1202.00 Digidesign Audiomedia II plugs into NuBus slot and offers high-quality stereo 16-bit recording up to 48KHz; analogue Ins and Outs plus S/PDIF; SoundDesigner II software features non-destructive playlist editing plus effects such as compression, pitch shifting, EQ and dynamics; supported by major direct-to-disk software such as Studio Vision, Cubase Audio and Notator Logic Audio.

Digidesign Sound Accelerator

1992 £1202.00 Digidesign Audiomedia II plugs into NuBus slot and offers high-quality stereo 16-bit recording up to 48KHz; analogue Ins and Outs plus S/PDIF; SoundDesigner II software features non-destructive playlist editing plus effects such as compression, pitch shifting, EQ and dynamics; supported by major direct-to-disk software such as Studio Vision, Cubase Audio and Notator Logic Audio.

Turtle Beach Tahiti

The Turtle Beach Tahiti was a 16-Bit ISA card which (along with the D.A.L CardD Plus) dominated 'higher quality' PC recording from the mid 1990's until the arrival of Steinberg's ASIO driver protocol and PCI based cards.

The Tahiti was driven by Turtle Beach's proprietary 'Hurricane' architecture which utilised the the same onboard Motorola 56001 DSP chip as the early Sound-Tools & Pro-Tools cards and fitted as standard in the Atari Falcon, delivering 20 million instructions per sec (MIPS) of processing power. The Tahiti could operate at sample rates of: 44.1 KHz, 22.05 KHz and 11.025 KHz & could accept the hugely popular Yamaha DB50XG GM Daughter board for playing GM MIDI compositions. MIDI In/Out was handled by a breakout cluster cable which attached to the D-Sub game port.
The sound of the Tahiti was superior to other Soundblaster cards of the era, delivering a Signal to Noise spec of -89dB (A Weighted), a Total Harmonic Distortion figure of <0.01% (A Weighted) & a Frequency Response of 19KHz to 20KHz.
The Tahiti works fantastically with all the early audio softwares, but as it never had ASIO drivers it was discarded by most users once PCI cards arrived.
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Digital Audio Labs CardDplus

The Digital Audio Labs CardDPlus was THE premier, high quality ISA soundcard to have in the mid 1990's through until ASIO & PCI cards arrived at the end of the decade and took over. It cost a staggering £750 GBP

The official PR of the time was this: If sound quality is your top priority, don't trust your audio to anything but the CardDplus from Digital Audio labs. Not to be confused with a "multimedia" sound card, the CardDplus is a high fidelity, dedicated recording and playback card for the PC. With its superior audio specifications, .WAV compatibility, and Play-while-record feature, the CardDplus is the perfect match for your favourite editing, multitrack, and sequencing programs. And, for digital transfers via S/PDIF to and from your DAT or other outboard converters, add the optional I/OCardD.

The CardDplus offered 16-Bit recording A/D converters & 18-Bit playback D/A converters with audio input/output being via superior RCA phono connectors and the card could be jumper-switched between -10dB & +4dB operating levels. Available Sample Rates were: 48kHz, 44.1kHz, 32kHz, and 22.05kHz & the CardDplus delivered a Frequency Response of 20Hz - 20kHz, with a typical Dynamic Range of 92dB.

Also available from Digital Audio labs was the Digital Only Card-D, offering digital S/PDIF i/o via RCA connectors, and was like it's analog sister considered a premium card for doing any digital transfer and editing work.
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Frontier Design WaveCenter

The worlds first ADAT digital transfer card for Windows from around 1997, but this was actually an ISA card while almost all other brands had moved on to PCI cards. The Wavecenter allowed you to connect via ADAT and transfer tracks between 8 track units or in stereo

WaveCenter™ is Frontier Design Group’s affordable multichannel audio and MIDI I/O card for Windows 95 PCs. WaveCenter is the first sound card to support direct digital transfers between ADATs and PCs, allowing ADAT users to edit and enhance their projects with powerful low-cost Windows editing software. By integrating ADAT, S/PDIF (electrical and optical) and MIDI on a single card, WaveCenter provides a full complement of today's most popular digital audio interfaces, making it ideal for both home and professional studios. Four digital audio input modes: ADAT optical (8 channels) S/PDIF optical (2 channels) S/PDIF electrical (2 channels) via RCA jack S/PDIF electrical (2 channels) via internal CD-ROM cable
Two digital audio output modes: ADAT optical + S/PDIF electrical (10 independent channels) S/PDIF optical + S/PDIF electrical (4 independent channels)
MIDI: 1 input, 3 independent outputs
Sample rates: 44.1 and 48 kHz internal; varispeeds and tracks input devices from 39 to 51 kHz
16-bit and 24-bit audio data transfer modes


WaveCenter/PCI Specifications

Digital Audio1 ADAT optical input (8 channels)1 ADAT optical output (8 channels)S/PDIF stereo input from coax, CD-ROM, or the optical inputS/PDIF stereo output to coax and/or the optical outputAll channels support 16-bit, 20-bit, 24-bit audio44.1 and 48kHz internal sample rate clock generation; locks to digital inputs from 39-51kHzDynamically resamples 8, 11.025, 16, 22.05, 24, and 32kHz digital audio to 44.1 or 48kHz for output to digital tape machines or external convertersMIDI2 input ports and 2 output ports (32 channels in and out)Includes breakout cable to provide industry-standard MIDI jacksOtherASIO 2.0 driver for low-latency performance with Steinberg's Cubase VST softwareDirect GigaSampler Interface driver for 8 channels of 24-bit audio from Nemesys' GigaSampler softwareMacintosh driver available (ASIO audio and OMS MIDI)WDM driver available for Windows XP, 2000, ME, 98SEPatchbay for input monitoring and digital audio format conversions (ADAT<->S/PDIF, for example)System requirements: one PCI short slot, one IRQEasy plug-and-play installationControl panel software for status and feature control. Compatible with PC audio and MIDI applications, including Cakewalk Pro Audio, Sonar, SAWPro, Vegas, Samplitude Studio, Sound Forge, Cubase VST, and Cool Edit Pro.

The Event Echo interfaces

M-Audio was founded in 1988 under the name of Midiman. The company was originally engaged in designing software and hardware solutions designed to address the challenges of MIDI & audio for computers. In 2000, MIDIman debuted the name “M-Audio” for their latest line of audio products.

Event Electronics Echo Darla

1997 & the new breed of Busmaster PCI cards with ASIO drivers arrive and revolutionise the DAW scene, and Event Electronics already famous for their 20/20 BAS speakers delivered three audio interfaces which took the industry by storm.

The smallest & initial unit of the range was the Darla, offering 2 analog inputs & 8 analog outputs (unbalanced) via RCA phono connectors on a small panel which fitted onto the outside front edge of the PCI card via a multi-pin connector.

While not having low latency ASIO drivers on release, Event worked closely with Steinberg & these arrived soon after, making low-latency multitrack recording a solid reality.

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Specifications:
  • Frequency Response: 20Hz-22kHz, ±0.5dB
  • Dynamic Range: >98dBTHD+n: <0.005%, 20Hz-22kHz, A-weighted
  • PCI bus master interface
  • Two analog input channels with precision 20-bit 128x oversampling analog-to-digital converters
  • Eight analog output channels with high-performance 20-bit 128x oversampling digital-to-analog converters
  • On-board 24-bit Motorola 56301 DSP (66MIPS)
  • Audio interface box with unbalanced RCA connectors
  • Multiple sample rates from 11kHz to 48kHz
  • Full duplex operation (simultaneously record two channels while playing back eight channels)
The Echo Darla was superseded by the upgraded Darla24 offering 24-bit operation.

Event Electronics Echo Gina

1997 & the new breed of Busmaster PCI cards with ASIO drivers arrive and revolutionise the DAW scene, and Event Electronics already famous for their 20/20BAS speakers delivered three audio interfaces which took the industry by storm.

The middle product of the range was the Gina system, offering a breakout box sporting 2 x analog inputs plus 8 analog outputs (unbalanced), with complimentary stereo S/PDIF RCA In/Out connectors on the card itself.

While not having low latency ASIO drivers on release, Event worked closely with Steinberg & these arrived soon after, making low-latency multitrack recording a solid reality.

These early Event devices established the format we all know and use today.

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Specifications:
  • Frequency Response: 10Hz-22kHz, ±0.5dB
  • Dynamic Range: 98dBTHD+n: <0.005%, 20Hz-22kHz, A-weighted
  • PCI bus master interface
  • Two analog input channels with precision 20-bit 128x oversampling analog-to-digital converters
  • Eight analog output channels with high-performance 20-bit 128x oversampling digital-to-analog converters
  • On-board 24-bit Motorola 56301 DSP (66MIPS)
  • S/PDIF I/O with up to 24-bit resolution
  • Audio interface box with unbalanced RCA connectors
  • Multiple sample rates from 11kHz to 48kHz
  • Full duplex operation (simultaneously record two channels while playing back eight channels)
  • Software controllable input levels
The Echo Gina was superseded by the upgraded Gina24 offering 24-bit operation.

Event Electronics Echo Layla

1998 & the new breed of Busmaster PCI cards with ASIO drivers arrive, revolutionising the DAW scene, and Event Electronics already famous for their 20/20BAS speakers delivered three audio interfaces which took the industry by storm.

The largest & premier unit of the range was the Layla rack offering 8 analog inputs & 10 analog outputs (balanced or unbalanced) on 1/4" connectors, with complimentary S/PDIF coax, Word Clock I/O & MIDI In, Out & Thru connectors.

These early Event devices established the format we all know and use today.

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Specifications:
  • Frequency Response: 10Hz-22kHz, ±0.5dB
  • Dynamic Range: 98dBTHD+n: <0.003%, 20Hz-22kHz, A-weighted
  • PCI bus master interface
  • Eight 1/4" TRS balanced analog inputs with precision 20-bit 128x oversampling analog-to-digital converters
  • Ten 1/4" TRS balanced analog outputs with high-performance 20-bit 128x oversampling digital-to-analog converters
  • On-board 24-bit Motorola 56301 DSP (80MIPS)
  • S/PDIF digital I/O with up to 24-bit resolution
  • 24-bit data resolution maintained throughout internal signal path
  • Word clock I/O
  • MIDI in/out/thru
  • Support for continuous sample rates with single-sample resolution
  • Full duplex operation (simultaneously record ten channels while playing back
The Echo Layla was superseded by the upgraded Layla24 offering 24-bit operation.

Event Electronics Echo Mona

1998 & the new breed of Busmaster PCI cards with ASIO drivers arrive, revolutionising the DAW scene, and Event Electronics already famous for their 20/20BAS speakers delivered three audio interfaces which took the industry by storm.

The largest & premier unit of the range was the Layla rack offering 8 analog inputs & 10 analog outputs (balanced or unbalanced) on 1/4" connectors, with complimentary S/PDIF coax, Word Clock I/O & MIDI In, Out & Thru connectors.

These early Event devices established the format we all know and use today.

Frequency Response: 10Hz-22kHz, ±0.5dB

Dynamic Range: 98dBTHD+n: <0.003%, 20Hz-22kHz, A-weighted

PCI bus master interface

Eight 1/4" TRS balanced analog inputs with precision 20-bit 128x oversampling analog-to-digital converters

Ten 1/4" TRS balanced analog outputs with high-performance 20-bit 128x oversampling digital-to-analog converters

S/PDIF digital I/O with up to 24-bit resolution

On-board 24-bit Motorola 56301 DSP (80MIPS)

24-bit data resolution maintained throughout internal signal path
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Word clock I/O
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MIDI in/out/thru
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Support for continuous sample rates with single-sample resolution

Full duplex operation (simultaneously record ten channels while playing back

Event Electronics Echo Mia

1998 & the new breed of Busmaster PCI cards with ASIO drivers arrive, revolutionising the DAW scene, and Event Electronics already famous for their 20/20BAS speakers delivered three audio interfaces which took the industry by storm.

The largest & premier unit of the range was the Layla rack offering 8 analog inputs & 10 analog outputs (balanced or unbalanced) on 1/4" connectors, with complimentary S/PDIF coax, Word Clock I/O & MIDI In, Out & Thru connectors.

These early Event devices established the format we all know and use today.

Frequency Response: 10Hz-22kHz, ±0.5dB

Dynamic Range: 98dBTHD+n: <0.003%, 20Hz-22kHz, A-weighted

PCI bus master interface

Eight 1/4" TRS balanced analog inputs with precision 20-bit 128x oversampling analog-to-digital converters

Ten 1/4" TRS balanced analog outputs with high-performance 20-bit 128x oversampling digital-to-analog converters

S/PDIF digital I/O with up to 24-bit resolution

On-board 24-bit Motorola 56301 DSP (80MIPS)

24-bit data resolution maintained throughout internal signal path
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Word clock I/O
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MIDI in/out/thru
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Support for continuous sample rates with single-sample resolution

Full duplex operation (simultaneously record ten channels while playing back

The Hoontech, ST Audio & ESI evolution

Hoontech, ST Audio & ESI all originated with the German computer product design company RIDI Multimedia. RIDI had established a name for themselves by writing quality soundcard drivers for other brand-named companies and in the early 2000's started to bring their own products to market, starting with the Hoontech range which then re-branded as ST Audio. RIDI also partnered with the Korean Egosys brand and eventually morphed into Egosys Inc or ESI for short in 2013. ESI still exist today making great value audio interfaces with some of the best drivers around.

Hoontech DSP2496 & ADC&DAC2000

Korean company Hoontech hit the market around 2001 & blew the competition away offering the most reliable - & at the same time cheapest (at around £250 GBP) - 8 input x 8 output system you could buy.

Hoontech soon re-branded as ST-Audio & finally became ESI Audio (still in existence today) & the driving force behind those brands started life as the original 1998 German company RIDI Multimedia helmed by Claus Riethmüller. RIDI Multimedia had developed a name for themselves writing high quality audio drivers for many well known brand name audio interfaces on the market. RIDI Multimedia therefore entered the market & designed & branded their own interfaces created in the far east and wrote robust ASIO & Windows drivers for them.

The result was high quality & extremely reliable low latency ASIO driver based audio interfaces & this combination started it all off.

The original C-Port system comprised the DSP2496 MK1 PCI card with the XG-DB I digital expansion daughter-board bracket which sported both optical and coaxial S/PDIF as well as AES/EBU I/O. The main PCI card connected via a large multi-pin cable to the 19" ADC&DAC2000 external rack converter unit which offered 8 x analog inputs & 8 x analog outputs (balanced/unbalanced) on 1/4" jack connectors as well as two alternative Mic pre-amps on input channels 1/2 with switchable phantom power. The ADC&DAC2000 rack also sported traditional MIDI In, Out & Thru as well as a second pair of Balanced XLR main L/R Outputs.

At the time there was nothing that could touch this system for price and robust reliability, and the system sold by the truckload. The DSP2496 + ADC&DAC2000 combination was soon re-branded as the ST-Audio C-PORT system.

ST Audio C-Port system

Hoontech re-branded as ST Audio and their main system was re-named as the C-Port system system from it's previously rather clunky product title of Hoontech DSP2496 & ADC&DAC2000 system

The re-branded C-Port system was identical to the previous Hoontech product but with a couple of minor cosmetic changes & comprised the same DSP2496 MK1 PCI card with the XG-DB I digital expansion daughter-board bracket which sported both optical and coaxial S/PDIF as well as AES/EBU I/O. The main PCI card connected via a large multi-pin cable to the 19" ADC&DAC2000 external rack converter unit which offered 8 analog inputs & 8 analog outputs (balanced/unbalanced) on 1/4" jack connectors as well as two alternative Mic pre-amps on input channels 1/2 with switchable phantom power. The ADC&DAC2000 rack also sported traditional MIDI In, Out & Thru as well as a second pair of Balanced XLR main L/R Outputs.

At the time there was nothing that could touch this system for price and robust reliability & these system sold by the truckload, winning glowing reviews from all the music tech magazines.

ESI ESP-1010

Hoontech re-branded as ST Audio and finally re-branded again as ESI around 2005/2006. The name ESI was derived from Ego Systems Inc another RIDI company which delivered the various GigaSampler products in the early 2000's. Egosys & RIDI finally merged in 2013

The ESP1010 system appeared around 2005 & was the updated PCI card based replacement for the older ST Audio C-Port.

Once again ESI delivered this package at the same unprecedented £249 GBP maintaining their crown for best value high quality multi-i/o audio interfaces

The re-branded ESP1010 system was essentially identical to the previous Hoontech & C-Port products but with a few changes. The old C-Port S/PDIF daughter card was now discarded, with the new PCI card connecting to a small breakout cable which offered MIDI In/Out & coax S/PDIF, while the previous optical S/PDIF was replaced with a TOSLink Optical digital Output on the PCI card. The rack unit attached to the card via the usual gigantic multi-pin cable & the rack itself offered a further pair of MIDI In/Out connectors giving the system dual midi In/Out 1 & 2, while the rack audio connectors maintained the same arrangement of 8 x analog in + 8 x analog out (balanced/unbalanced -10dBV), with inputs 1/2 also available via front panel Microphone inputs with their own gain controls & switchable phantom power.
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Other changes included the new addition of two headphone sockets taking their feeds from outputs 7 & 8 while the unit lost the old balanced XLR main L/R outs of the previous Hoontech & ST Audio rack units.

PCI card (3.3V and 5V compatible) with external 19" interface
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10 input and 10 output channels

8 analog inputs, 2 with microphone preamp

24bit 96kHz 107dB(a) +12V phantom power support / +48V with external power supply (not included, optional)

8 analog outputs,

24bit 96kHz 112dB(a) coaxial S/PDIF Inputs and outputs

optical digital output on PCI card (Toslink)

2 headphone outputs

2 MIDI inputs, 2 MIDI outputs

2m connection cable between 19" box and PCI card support for DirectWIRE 3.0

independent monitoring control for analog and digital input signals and playback

integrated 20 channel digital mixer

EWDM driver: MME, DirectSound, ASIO 2.0 and GSIF 2.0 support

Windows 8.1/8/7/Vista/XP/2000/2003 compatible

At the time there was nothing that could touch this system for price and robust reliability & the system sold by the truckload winning glowing reviews from all the music tech magazines.

The ESI ESP1010 was eventually updated to the PCIe card based ESP1010e

Midiman / M-Audio cards & interfaces

M-Audio was founded in 1988 under the name of Midiman. The company was originally engaged in designing software and hardware solutions designed to address the challenges of MIDI & audio for computers. In 2000, MIDIman debuted the name “M-Audio” for their latest line of audio products and went on to become one of the biggest players in soundcards & audio interfaces. Products such as their Audiophile 2496 & Delta 1010 became huge sellers found in writing suites & studios the world over.

Midiman DMAN

1998 - The DMAN PCI™ is a PCI Digital Audio Card for the PC. Features: PCI 2.1 compliant card. Requires one IRQ and no DMA channels.
• High quality audio specs: 90 dB dynamic range.
• Full-duplex for simultaneous stereo record and playback.
• Stereo line-level inputs and outputs on gold-plated RCA jacks.
• MIDI In/Out on 5-pin DIN connectors.
• Built-in 64-Voice General MIDI Wavetable Synthesis with GS Reverb/Chorus Effects, independent of hardware MIDI I/O.
• Built-in header for addition of standard wavetable daughter board (optional).
• Integrated Analog Mixer.
• High-quality differential CD audio input.
• Full Windows 95/98 Plug-and-Play compatibility.
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Specifications:• 18-bit delta-sigma A/D and D/A converters, 16-bit data path.
• All standard sample rates supported, up to 48 kHz.
• Total Dynamic Range: 90 dB, THD+N: -85 dB typical.
• Frequency Response: 20 Hz to 20 kHz, +/-0.5 dB.
• Line Level Impedance: 13.6 k Ohms.
• Maximum Audio I/O levels: +6 dBV (-10dBV nominal).
• 16 channel MIDI interface drives both external MIDI port and optional wavetable header.
• DirectX™ Compatible
• 255 MIPs DSP Architecture, 96-Channel Streaming Interface with Hardware Scatter/ Gather Support

M-Audio Audiophile 2496

$229 - M Audio’s Audiophile 2496 card is the latest addition to its highly successful Delta family of soundcards. The Audiophile 2496 is an all-in-one high fidelity soundcard solution for a wide variety of applications, ranging from multitrack recording to computer-based home theatre. Analog I/O is available on RCA jacks, utilising the same professional 24-bit 96kHz conversion as the Delta 44 and Delta 66 cards. S/PDIF I/O and MIDI I/O provide connectivity to both digital devices and the world of MIDI. The Audiophile 2496 includes a powerful digital mixer/router, and control over SCMS (Serial Copy Management System). Delta cards support all computer platforms and major software programs.

With software support, the Audiophile 2496 becomes the highest fidelity home theatre soundcard available today.

M-Audio Delta 44

$399 - The Delta 44 is the only computer interface you will need to input and
output 4 channels of analog audio from your computer -- all at an
affordable price and at the pinnacle of 24-bit 96kHz fidelity. The Delta 44
system includes a PCI card connected to a sturdy analog break-out box. The
break-out box provides four analog audio input and output jacks (1/4" TRS),
compatible with balanced or unbalanced, +4dB or -10dB signal levels. Also
included is Delta Control Panel software which allows you to control the
Delta 44's comprehensive routing, monitoring, and mixing capabilities.

Features:

*4x4 24-bit/96kHz full-duplex recording interface.
*Configured as a PCI Host card with external audio break-out box.
*4x4 analog break-out box accepts balanced or unbalanced connections
on 1/4" tip-ring-sleeve (TRS) jacks.
*Analog I/O configurable for +4dB or -10dB signal levels.
*Measured D/A specs: 103dB (A-weighted) dynamic range, 0.0015% THD @
0dBFS.
*Measured A/D specs: 99dB (A-weighted) dynamic range, 0.0023% THD @
0dBFS.
*All data paths support up to 24-bit/96kHz performance, no upgrades
necessary.
*Powerful digital mixing, routing and monitoring capabilities.
*Includes Windows 95/98, ASIO/ASIO2, Mac*, DirectX and Windows NT
drivers.

M-Audio Delta 66

$499 - The Delta 66 is the only computer interface you will need to input analog and digital audio sources into your computer and output the results to your monitoring system and/or mixdown deck--all at an affordable price and at the pinnacle of 24-bit 96kHz fidelity. The flexible Delta 66 system includes a PCI card with S/PDIF I/O, connected to a sturdy analog breakout box. The breakout box contains four analog inputs and outputs compatible with balanced or unbalanced, +4dB or -10dB signals. Also included is Delta control panel software which supplies you with comprehensive routing, monitoring, and mixing capabilities.

Features:
• 6x6 24-bit/96kHz full-duplex recording interface.
• Configured as a PCI Host card with external audio break-out box.
• PCI card provides S/PDIF inputs and outputs on RCA jacks.
• 4x4 analog break-out box accepts balanced or unbalanced connections on 1/4" TRS jacks.
• Analog I/O configurable for +4dB and –10dB signal levels.
• Measured D/A specs: 103dB (A-weighted) dynamic range, 0.0015% THD @ 0dBFS.
• Measured A/D specs: 99dB (A-weighted) dynamic range, 0.0023% THD @ 0dBFS.
• All data paths support up to 24-bit/96kHz performance, no upgrades necessary.
• Powerful digital mixing, routing and monitoring capabilities.
• Hardware sample-accurate sync links multiple Delta 66s.*
• Includes Windows 95/98, ASIO/ASIO2, Mac*, DirectX and Windows NT drivers.

M-Audio Delta 1010

$995 - The Delta 1010 stands at the forefront of digital audio’s evolution, making available a level of performance previously unattainable. Unrivaled in its integrity, the DELTA 1010 shores up what used to be the Achilles’ heel of any computer-based system: the transfer and  conversion of audio between the outside world and the computer. With 24-bit 96kHz bandwidth and expansive flexibility, the DELTA 1010 boasts 8 balanced or unbalanced analog I/Os, S/PDIF I/O, Word Clock I/O, and MIDI I/O to guarantee connectivity in any installation. To ensure that your audio is not compromised by your computer’s internal noise, the Delta 1010’s converters reside in a rock-solid, external, rack-mountable chassis. We’ve even located the power transformer outside of the chassis to further secure the absolute transparency of your audio.

Performance
• All data paths support all bit widths and sampling rates up to 24-bit/96kHz.
• High dynamic range (A-weighted measured): D/A 108db, A/D 109db.
• Low distortion (measured THD @0dBFS): D/A less than 0.0015%, A/D less than 0.001%.

Hardware
• Configured as PCI host card with external rack-mount unit, which houses all converters.
• 8x8 analog I/O is balanced or unbalanced on 1/4" TRS connectors.
• +4/-10 operation, individually switchable on the external rack-mount unit.
• S/PDIF I/O on PCI host card.
• Full duplex operation.
• Word Clock I/O.
• MIDI I/O.

Software
• Powerful digital mixing, routing and monitoring capabilities with included software.
• Hardware sample-accurate sync links multiple Delta 1010s.*
• Includes Windows 95/98, ASIO/ASIO2, Mac*, DirectX and Windows NT drivers.

M-Audio Delta DiO 2496

$249 - Professional digital transferring and mastering have never been as affordable and easily accessible as they are now with the Delta DiO 2496. With a host of pro features, the Delta DiO 2496 is ready for any and all optical and coaxial S/PDIF applications. Besides sporting dual format digital I/O (optical on TOSlink connectors, coaxial on gold-plated RCA connectors), the Delta DiO 2496 also provides a high-quality D/A converter which may be used for monitoring or mixdowns. All data paths support 24 bit 96kHz operation, and the D/A output channels are completely independent of the digital output channels making the Delta DiO 2496 a 2-in 4-out full-duplex card. Finally, the Delta DiO 2496 offers onboard digital mixing and routing, monitor control, SCMS (Serial Copy Management System) output on S/PDIF, and even multi-platform operation. Features:2-in, 4-out 24 bit/96kHz full-duplex audio interface on a half-size PCI card.S/PDIF inputs and outputs on Coaxial (RCA) and Optical (TOSlink) jacks.High-quality stereo analog output on RCA jacks, configurable as +4dB or -10dB.Built-in digital mixer allows the D/A converter to monitor digital inputs or act as its own independent stereo output.Measured D/A specs: 101dB (A-weighted) dynamic range, 0.002% THD @ 0dBFS.All data paths support up to 24 bit/96kHz performance.Drivers include: Windows 95/98, Windows NT, ASIO, ASIO2, Direct Sound, EASI, Multi-card 95/98 & Multi-card NT (up to 3 in a system), Gigasampler, Mac Sound Manager and Mac ASIO.

M-Audio Delta 1010 LT

2002 - $499.95
The Delta 1010-LT offers all of the interface features you need to record music on your computer, including: eight analog inputs and outputs, including 2 XLR microphone inputs with pre amps, S/PDIF in/out, MIDI in/out, and word-clock in/out. Audio from a variety of sources can be connected to the 1010-LT inputs, and the comprehensive Delta Control Panel software can set and even fine-tune the input line level. Inputs 1 & 2 on XLR jacks can be set to receive a balanced line or a mic level signal, eliminating the need for an outboard mic preamp. The S/PDIF input will interface with gear from pro DAT players to CD, DVD or Minidisc, and offers control over the SCMS copy protection protocol.

The Delta 1010-LT outputs can be connected to an external mixer or sound system, while the S/PDIF outs feed your digital mix down deck. The Delta Control Panel Software also controls a hardware mixer embedded in the PCI card, giving still more routing and mixing control. Use the MIDI I/O for your MIDI controllers and sound modules, and finally, connect to word-clock capable devices for rock-solid sample clock synchronisation.

The 1010-LT is part of the Delta series of PCI audio cards, and benefits from years of development and research. No other audio interfaces on the market compete with the sound quality and driver compatibility of the Delta series. Install it in your Mac or PC computer today and begin exploring the world of professional digital audio.

What about drivers?
We pride ourselves in providing you with not only highly stable drivers but also the broadest driver compatibility of any card. All Delta audio cards feature drivers for Windows XP, 2000, ME, 95/98, and NT, ASIO, Direct Sound, EASI, Multi-client 95/98/ME & Multi-card drivers for all Windows OS, Gigasampler, Mac Sound Manager and Mac ASIO, ASIO2.

‍Delta 1010-LT Specs:
• 10 in /10 out 24bit 96kHz audio card with mic pre-amps, digital i/o,MIDI i/o and more
• 10x10 24-bit/96 kHz full-duplex recording interface. PCI host card with 2 external, colour coded breakout cables.
• 8x8 analog I/O, balanced on female XLR and unbalanced on gold-plated RCA connectors, with signal level adjustments selectable within the Delta Control Panel.
• S/PDIF digital I/O supports a variety of modes, including AC3 or DTS surround (PC only) and copy protection schemes can be set via the Delta Control Panel.
• 1x1 MIDI I/O on standard DIN jacks.
• External synchronisation via word Clock I/O on BNC connectors.
• The two balanced XLR analog inputs can be set via hardware jumpers to accept microphone level or line level signals.
• High dynamic range (A-weighted measured): D/A 101.5 dB, A/D 99.6 dB.
• Low distortion (measured THD @ 0dBFS): A/D and D/A less than 0.002%.
• Frequency Response: 22-22kHz, -0.2,-0.4dB @48kHz; 22-40kHz, -0.2,-0.7dB @96kHz
• All data paths support up to 24bit/96kHz performance, no upgrades necessary.
• Comprehensive digital mixing, routing, and monitoring capabilities with included Delta Control Panel software.
• Hardware sample-accurate sync will allow linking of multiple Delta units.
• Windows XP, 2000/ME and 95/98 multi-card, multi-client drivers with ASIO1 and ASIO2 multi-card, GSIF and EASI drivers included; Windows NT multi-card drivers also included.
• Macintosh control panel and drivers with ASIO1, ASIO2, and legacy ASIO support for OS 8.6 or higher including OS X.

M-Audio Delta 410

2002 MSRP: $269.95 USD)
Why a Delta audio card?
Sound quality, performance, and superior driver technology are a few of the reasons that Delta audio cards have established worldwide recognition as a top choice in PCI-based digital audio solutions. With superb engineering and ultra-high quality conversion, the fidelity of the Delta 410 outperforms cards that cost many times more. The 410 offers the professional performance required by today’s most popular software programs, and provides you with features like 24-bit 96 kHz recording, zero latency monitoring and digital mixing.
‍Why the 410?
Recordings are often put together one track at a time (a guitar solo here, a vocal there) as opposed to being all tracked simultaneously. As a result, many musicians decide to choose an audio card with fewer Ins and more Outs rather than spending money on a lot of inputs they may never use. The Delta 410’s 4-in/10-out configuration is created with this type of recording approach in mind. The multi-output card is often combined with an analog mixer, allowing a computer-based recording system to behave more like a traditional analog one. Recording inputs are quickly routed to the same inputs of the soundcard via a patchbay or mixer. Outputs are sent to mixer channels or analog effects devices, allowing for an “analog studio” style configuration where signals are bussed to and from a mixer in the analog domain.What about drivers?
Drivers are what allows your card to communicate with audio applications. M-Audio offers drivers compliant with almost every possible application on the market. For Macintosh, there are both Sound Manager and several different versions of ASIO. For Windows, there are ASIO, ASIO2, GSIF, EASI, as well as multi-client WDM (Win 2K) and Win 98 / ME drivers. Multiclient drivers allow you to use multiple applications simultaneously, allowing you to run sequencers, soft-synths, and other programs at the same time. We are also committed to supporting both MacOS X and Windows XP.
Studiophile SP-5BNeed speakers? The Studiophile SP-5B speakers are designed to work perfectly with M-Audio gear, and because they're self powered, all you need is a cable to use them. Click for more info...The Delta 410 has what you need.
• Convenient and powerful routing possibilities
• Unsurpassed fidelity
• Superior driver technology
• The broadest compatibility of any card
• Zero latency monitoring
• Expandability
• Bit-for-bit accurate digital transfers via S/PDIF
• 24-bit 96 kHz recording
• Powerful digital mixing and routing.
• Control over SCMS (Serial Copy Management System).Delta 410 Specifications:
• 4x10 24-bit/96khz full-duplex recording interface.
• PCI card with break-out cable to gold-plated RCA jacks.
• 8 Analog Outs, -10dB unbalanced consumner signal levels.
• 2 Analog Ins, configured for -10dB unbalanced signal levels.
• S/PDIF digital I/O on gold-plated RCA connectors located on the PCI card. A variety
of settings, including AC3 or DTS surround and copy protection schemes, may be configured via the Delta Control Panel software.
• High dynamic range (A-weighted measured): D/A 101.5 dB, A/D 99.6 dB.
• Low distortion (measured THD @ 0dBFS): A/D and D/A less than 0.002%.
• Frequency Response:
22-22kHz, -0.2,-0.4dB @48kHz
22-40kHz, -0.2,-0.7dB @96kHz
• All data paths support up to 24bit/96kHz performance, no upgrades necessary.
• Comprehensive digital mixing, routing, and monitoring capabilities with included Delta Control Panel software.
• Hardware sample-accurate sync will allow linking of multiple Delta units.

M-Audio Fast Track USB

2003 - $129.95
‍If you make music with GarageBand or other software recording programs, Fast Track USB is the easiest way to record your guitar with professional results. Just connect Fast Track USB to the USB port of your computer and you're ready to rock. Fast Track USB has an input for instruments like guitar, bass and keyboards, plus a microphone input for recording vocals or other acoustic sounds. The included GT Player Express software gives you killer effects and virtual stomp boxes so you don't need any other gear to sound great. GT Player Express also plays standard audio files like AAC, MP3 and WAV that let you learn and jam along with your favourite music at variable speeds. Fast Track USB is the easy and professional way to add guitar, vocals, and more to your computer music experience.

44.1 & 48k
ASIO 2
WDM
Kernel Streaming
Mac OS X Core Audio

‍

M-Audio Mobile Pre USB

2003 - $179.95
MobilePre USB is the preamp with a built-in audio interface that's designed for laptop recording such as field recording and sampling expeditions. In fact, it's one of the only completely bus-powered preamps available. (Of course, you can use it on the desktop as well.) A total of three kinds of audio inputs and outputs provide maximum flexibility for any application, including two on-board microphone/instrument preamps and high-impedance instrument inputs ideal for connecting guitars and basses. And unlike many competitors, zero-latency direct monitoring provides you with a streamlined professional recording experience.

2 x 2 16-bit/48kHz analog I/O
2 microphone inputs (XLR balanced) with 48v phantom power.
stereo microphone input (1/8")
2 high-impedance instrument/line inputs (balanced/unbalanced 1/4" TRS)
2 mono line outputs (1/4" @ -10dBV)
stereo line output (1/8")
stereo headphone output with level control knob gain control knob for each input channel (+40 dB max)
zero-latency hardware direct monitoring (mono/stereo) with software level control USB-powered for total mobility.

ASIO 2
MME
Sound Manager
DirectX
Mac OS X Core Audio / Core MIDI

The Creative Labs E-mu interfaces

The American sampler manufacturer E-mu was purchased in 1993 by Creative Technology, the parent company of Creative Labs, and E-mu sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. Initially Creative delivered various soundcards fitted with E-mu synthesiser chips, but between 2003 & 2007 E-mu brought a range of audio interfaces to the market which caused quite a stir & went on to become huge sellers.

E-mu 1820m

E-mu was purchased in 1993 by Creative Labs and old E-mu sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. Initially Creative focused on delivering various soundcards & daughterboards fitted with the Emu8000 synthesiser & FX chip technology, but in 2003/2004 E-mu brought a range of audio interfaces to the market which caused quite a stir.

The E-mu 1820m was the flagship model of the range comprising the main 1010 PCI Card, external AudioDock breakout box & the Sync Daughter Card featuring SMPTE, Word Clock and MTC sync.

The E-mu 1820m retailed at £349.00 GBP
‍
‍
The E-mu 1820M is the flagship of E-MU's line of Digital Audio Systems, delivering everything you need to produce audio on a PC with professional results. 24-bit/192kHz converters (the same A/D converters used in Digidesign's ProTools HD 192 I/O interface), hardware-accelerated effects and mixing, comprehensive sync options and seamless compatibility with your favourite PC audio/sequencer software. No other audio solution available offers the performance, flexibility and value of the E-MU 1820M.


E-DSP hardware accelerated effects:
All versions of the E-mu soundcards featured E-DSP hardware accelerated effects processor with over 20 effects plug-ins. These FX could be inserted into DAW channel FX slots using the special E-mu PatchMix DSP mixer & routing applet. The FX however were extremely time consuming to add to projects & had a certain amount of latency, even when the system was using faster ASIO drivers, which meant you could not record while monitoring THRU these DSP based FX, they could however be used on Mix-down, to shape & add FX to audio tracks & instrument tracks after recording.
‍

General Specifications:
  • Sample Rates: 44.1, 48, 96, 192 from internal crystal or externally supplied clock
  • Bit Depth: 16 or 24 bits
  • PCI Bus-Mastering DMA subsystem reduces CPU usage
  • Zero-latency direct hardware monitoring w/effects

Features:
  • Mastering-grade 24-bit, 192kHz converters - the same A/D converters used in Digidesign's flagship ProTools HD I/O Interface
  • Pristine 24-bit, 192kHz converters and flexible connectivity with 18 audio inputs, 20 outputs, 32 channels of MIDI I/O, plus a FireWire port for seamless integration with your entire studio
  • 2 premium TFPro mic preamps with Mic/Line/Hi-Z inputs with 40db of gain/attenuation and 48V phantom power - plug guitars, keyboards
  • E-DSP 32-bit Multi-effects Processor offers you over 20 hardware- accelerated effects (over 500 presets) with no CPU overhead - plug-in architecture allows you to add new effects as needed
  • 32 channels of zero latency hardware mixing/monitoring with super-flexible virtual patchbay - no external mixer needed

I/O Configuration:
  • 2 premium TFPro mic preamps with Mic/Line/Hi-Z inputs with 40db of gain/attenuation and 48V phantom power - plug guitars, keyboards and microphones straight into your system
  • 6 x 1/4" Balanced Inputs
  • 8 x 1/4" Balanced Outputs
  • Turntable Input (w/ground lug and hardware RIAA preamp)
  • 24-bit/192kHz ADAT I/O (switchable to S/PDIF)
  • 24-bit/96kHz coaxial S/PDIF I/O (switchable to AES/EBU)
  • 24-bit/96kHz optical S/PDIF Out (switchable to AES/EBU)
  • 2 MIDI I/O (32 channels)
  • 4 stereo 1/8" Speaker Outputs (configurable from stereo to 7.1)
  • Stereo Headphone Output
  • FireWire Interface

Additionally the 1820m could be purchased with the Emulator sampler option.

Emulator X Studio is a 24-bit/192kHz software sampler with the comprehensive integrated I/O, sync interfaces of the E-mu 1820M and hardware-accelerated effects for Windows XP and 2000. You can run the Emulator X software as a VST instrument within your favourite sequencer application or standalone, from RAM or streaming from hard disk.
‍
The E-mu 1820m came to market with WDM DirectSound & ASIO 2.0 drivers.‍‍

E-mu 1820

E-mu was purchased in 1993 by Creative Labs and old E-mu sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. Initially Creative focused on delivering various soundcards & daughterboards fitted with the Emu8000 synthesiser & FX chip technology, but in 2003/2004 E-mu brought a range of audio interfaces to the market which caused quite a stir.

The E-mu 1820 non 'M' version was a reduced package based on the main 1820m flagship & comprised the main 1010 PCI Card and external AudioDock breakout box, but did not include the Sync Daughter card, featuring SMPTE, Word Clock and MTC sync.

The E-mu 1820 retailed at £299.00 GBP
‍
‍
The E-mu 1820M is the flagship of E-MU's line of Digital Audio Systems, delivering everything you need to produce audio on a PC with professional results. 24-bit/192kHz converters (the same A/D converters used in Digidesign's ProTools HD 192 I/O interface), hardware-accelerated effects and mixing, comprehensive sync options and seamless compatibility with your favourite PC audio/sequencer software. No other audio solution available offers the performance, flexibility and value of the E-MU 1820M.


E-DSP hardware accelerated effects:
All versions of the E-mu soundcards featured E-DSP hardware accelerated effects processor with over 20 effects plug-ins. These FX could be inserted into DAW channel FX slots using the special E-mu PatchMix DSP mixer & routing applet. The FX however were extremely time consuming to add to projects & had a certain amount of latency, even when the system was using faster ASIO drivers, which meant you could not record while monitoring THRU these DSP based FX, they could however be used on Mix-down, to shape & add FX to audio tracks & instrument tracks after recording.
‍

General Specifications:
  • Sample Rates: 44.1, 48, 96, 192 from internal crystal or externally supplied clock
  • Bit Depth: 16 or 24 bits
  • PCI Bus-Mastering DMA subsystem reduces CPU usage
  • Zero-latency direct hardware monitoring w/effects

Features:
  • Pristine 24-bit, 192kHz converters and flexible connectivity with 18 audio inputs, 20 outputs, 32 channels of MIDI I/O, plus a FireWire port for seamless integration with your entire studio
  • 2 premium TFPro mic preamps with Mic/Line/Hi-Z inputs with 40db of gain/attenuation and 48V phantom power - plug guitars, keyboards
  • E-DSP 32-bit Multi-effects Processor offers you over 20 hardware- accelerated effects (over 500 presets) with no CPU overhead - plug-in architecture allows you to add new effects as needed
  • 32 channels of zero latency hardware mixing/monitoring with super-flexible virtual patchbay - no external mixer needed

I/O Configuration:
  • 2 TFPro Mic/Line/Hi-Z preamps (w/48V phantom power)
  • 6 x 1/4" Balanced Inputs
  • 8 x 1/4" Balanced Outputs
  • Turntable input (w/ground lug and hardware RIAA preamp)
  • 24-bit/192kHz ADAT I/O (switchable to S/PDIF)
  • 24-bit/96kHz coaxial S/PDIF I/O (switchable to AES/EBU)
  • 24-bit/96kHz optical S/PDIF Out (switchable to AES/EBU)
  • 2 x MIDI I/O (32 channels)
  • 4 stereo 1/8" Speaker Outputs (configurable from stereo to 7.1)
  • Stereo Headphone Output
  • FireWire Interface
‍
The E-mu 1820m came to market with WDM DirectSound & ASIO 2.0 drivers.‍‍

E-mu 1212m

was purchased in 1993 by Creative Labs and old E-mu sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. Initially Creative focused on delivering various soundcards & daughterboards fitted with the Emu8000 synthesiser & FX chip technology, but in 2003/2004 E-mu brought a range of audio interfaces to the market which caused quite a stir.

The E-mu 1212m was the mid-featured model of the range, comprising of the main 1010 PCI Card and 0202 Daughter Card which carries the physical 1/4" 2 x analog Inputs & 2 x Outputs (balanced/unbalanced), as well as two MIDI connectors with supplied traditional MIDI In/Out breakout cables.

The 1212m could be expanded by purchasing the main AudioDock breakout box which attaches as usual to the main 1010 PCI Card.
‍
The Sync Daughter Card could also be added as an optional upgrade for the 1212M systems.
‍
The E-mu 1212m retailed at £149.00 GBP
‍
‍‍
The E-mu 1212M is a high-quality audio card giving 2 x 24-bit analogue balanced I/O, 24-bit/192kHz ADAT I/O (switchable to S/PDIF), 24-bit/96kHz S/PDIF I/O (switchable to AES/EBU), MIDI I/O and a Firewire Interface.

E-DSP hardware accelerated effects:
All versions of the E-mu soundcards featured E-DSP hardware accelerated effects processor with over 20 effects plug-ins. These FX could be inserted into DAW channel FX slots using the special E-mu PatchMix DSP mixer & routing applet. The FX however were extremely time consuming to add to projects & had a certain amount of latency, even when the system was using faster ASIO drivers, which meant you could not record while monitoring THRU these DSP based FX, they could however be used on Mix-down, to shape & add FX to audio tracks & instrument tracks after recording.‍
‍
‍
General Specifications:
  • Sample Rates: 44.1, 48, 96, 192 from internal crystal or externally supplied clock
  • Bit Depth: 16 or 24 bits
  • PCI Bus-Mastering DMA subsystem reduces CPU usage
  • Zero-latency direct hardware monitoring w/effects

Features:
  • Mastering-grade 24-bit, 192kHz converters - the same A/D converters used in Digidesign's flagship ProTools HD I/O Interface
  • E-DSP 32-bit Multi-effects Processor offers you over 20 hardware- accelerated effects (over 500 presets) with no CPU overhead - plug-in architecture allows you to add new effects as needed
  • 32 channels of zero latency hardware mixing/monitoring with super-flexible virtual patchbay - no external mixer needed

I/O Configuration:
  • 12 Audio Inputs/12 Audio Outputs
  • 2 x 1/4" Balanced Inputs
  • 2 x 1/4" Balanced Outputs
  • 24-bit/192kHz ADAT In/Out
    (switchable to S/PDIF)
  • 24-bit/96kHz S/PDIF In/Out
    (switchable to AES/EBU)
  • MIDI In/Out (16 Channels)
  • FireWire Interface
  • Add additional analogue I/O etc using the optional Audiodock, Audiodock-M, sync card and more.

Additionally the 1212m could be purchased with the Emulator sampler option.

Emulator X is a 24-bit/192kHz software sampler with the integrated I/O of the E-mu 1212M and hardware-accelerated effects for Windows XP and 2000. You can run the Emulator X software as a VST instrument within your favourite sequencer application or standalone, from RAM or streaming from hard disk.
‍
The E-mu 1212m came to market with WDM DirectSound & ASIO 2.0 drivers.

E-mu 1616 & 1616m PCI

E-mu was purchased in 1993 by Creative Labs and old E-mu sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. Initially Creative focused on delivering various soundcards & daughterboards fitted with the Emu8000 synthesiser & FX chip technology, but in 2003/2004 E-mu brought a range of audio interfaces to the market which caused quite a stir.

The E-mu 1616 & E-mu 1616m were the last in the series to be released in 2008

The E-MU 1616 system included the MicroDock, which is a half rack-space, audio interface.

The E-MU 1616m system included the MicroDockM, a no compromise, mastering grade system with ultra-high performance 24-bit/192kHz A/D - D/A converters which deliver an incredible 120dB of dynamic range.
‍
The E-mu 1616 & 1616m both used a revised version of the 1010 PCI card which had no Firewire connector.
‍
The Sync Daughter Card could be added as an optional upgrade for the 1616 & 1616m.
‍
‍
The E-mu 1616m retailed at £299.00 GBP
The E-mu 1616 retailed at £231.00 GBP
‍
‍
The E-mu 1616 PCI Digital Audio System delivers everything you need to produce audio on a PC with professional results - premium 24-bit/192kHz converters (112dB SNR A/D and D/A), hardware-accelerated effects and mixing, comprehensive sync options and seamless compatibility with your favourite PC audio/sequencer software.

The included MicroDock breakout box offers a total of 16 inputs and 16 outputs plus 32 channels of MIDI I/O, including two E-MU XTC Class-A ultra-low noise mic/line/hi-Z preamps with 48V phantom power and analog soft limiting circuit for clip protection. The 1616M PCI also ships with ASIO2 and WDM drivers for Windows XP and x64



E-DSP hardware accelerated effects:
All versions of the E-mu soundcards featured E-DSP hardware accelerated effects processor with over 20 effects plug-ins. These FX could be inserted into DAW channel FX slots using the special E-mu PatchMix DSP mixer & routing applet. The FX however were extremely time consuming to add to projects & had a certain amount of latency, even when the system was using faster ASIO drivers, which meant you could not record while monitoring THRU these DSP based FX, they could however be used on Mix-down, to shape & add FX to audio tracks & instrument tracks after recording.
‍
‍
General Specifications:
  • Sample Rates:
    (1616m) 44.1 kHz. 48 kHz, 96 kHz, 192 kHz from internal crystal or externally supplied clock (no sample rate conversion)
    (1616) - 44.1 kHz. 48 kHz, 88.2kHz, 96 kHz, 176.4kHz & 192kHz from internal crystal or externally supplied clock (no sample rate conversion)
  • Bit Depth:
    (1616m) 24-bit I/O, 32-bit processing.
    (1616) 16 or 24-bit I/O, 32-bit processing
  • PCI 2.2 compliant Form Factor: Universal Keyed, Short PCI Card3.3V I/O, 5V Tolerant PCI Bus-Mastering DMA subsystem reduces CPU usage
  • Hardware DSP: 100MIPs custom 32-bit audio DSP with 67-bit accumulator. (double precision, with 3 headroom bits). Zero-latency direct hardware monitoring with effects.

Features:
  • E-mu 1616m: Mastering grade 24-bit/192kHz converters - the same A/D converters used in Digidesign's flagship ProTools HD 192 I/O Interface delivering an amazing 120dB signal-to-noise ratio

    E-mu 1616: Premium 24-bit/192kHz converters - 112dB signal-to-noise ratio for pristine recording and playback of your tracks
  • Hardware-accelerated effects - over 600 standalone and E-MU Power FX VST plug-in effects with no CPU overhead
  • PatchMix™ DSP zero-latency hardware mixing and monitoring - with super-flexible patchbay - no external mixer needed
  • Two E-MU XTC™ Class-A, ultra-low noise preamps (-127dBu) - Mic/Line and true Hi-Z inputs via Neutrik connectors, with analog soft limiter, 48V phantom power and 60dB of gain

I/O Configuration:
  • Two E-MU XTC™ Ultra-low Noise Mic/Line/Hi-Z Preamps with Soft Limiter and 48V Phantom Power (-129dBu EIN)
  • Four 1/4" Balanced Inputs
  • Six 1/4" Balanced Outputs
  • Turntable Input (w/ground lug and hardware RIAA preamp)
  • 24-bit/192kHz ADAT In/Out (switchable to S/PDIF)
  • 24-bit/192kHz coaxial S/PDIF Out (switchable to AES/EBU)
  • Two sets of MIDI In/Out
  • Stereo 1/8" Speaker Outputs (configurable from stereo to 5.1)
  • Stereo Headphone Output

The E-mu 1616 & 1616m came to market with WDM DirectSound & ASIO 2.0 drivers.

E-mu also sold the Card-bus 1616 version for laptops.

E-mu 0404

E-mu was purchased in 1993 by Creative Labs and old E-mu sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. Initially Creative focused on delivering various soundcards & daughterboards fitted with the Emu8000 synthesiser & FX chip technology, but in 2003/2004 E-mu brought a range of audio interfaces to the market which caused quite a stir and the E-mu 0404 was the baby model of the range.

The E-mu 0404 was the basic model of the series. Operating at 24-Bit & up to 96kHz, the 0404 offered a simple stereo analog In/Out on 1/4" connectors, augmented by Coaxial & Optical S/PDIF as well as MIDI I/O. All connections are via a breakout cable

‍The Sync Daughter Card could also be added as an optional upgrade for the 0404 system.


The E-mu 0404 retailed at a super-value price of just £69.00 GBP
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The E-mu 0404 Digital Audio System delivers pro quality at a breakthrough price of £69.99 inc VAT. Pristine 24-bit, 96kHz converters and flexible connectivity with 1/4" analogue I/O, 24-bit/96kHz digital S/PDIF I/O (coaxial or optical - switchable to AES/EBU), and MIDI I/O for seamless integration with your entire studio.


E-DSP hardware accelerated effects:
All versions of the E-mu soundcards featured E-DSP hardware accelerated effects processor with over 20 effects plug-ins. These FX could be inserted into DAW channel FX slots using the special E-mu PatchMix DSP mixer & routing applet. The FX however were extremely time consuming to add to projects & had a certain amount of latency, even when the system was using faster ASIO drivers, which meant you could not record while monitoring THRU these DSP based FX, they could however be used on Mix-down, to shape & add FX to audio tracks & instrument tracks after recording.
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I/O Configuration:
  • ‍2 x 24-bit/96kHz 1/4" analogue Inputs (unbalanced) - 111dB of dynamic range
  • 2 x 24-bit/96kHz 1/4" analogue Outputs (unbalanced) - 111dB of dynamic range
  • 24-bit/96kHz digital S/PDIF I/O
    (coaxial or optical - switchable to AES/EBU)
  • MIDI In/Out
The E-mu 0404 came to market with WDM DirectSound & ASIO 2.0 drivers.

Focusrite audio interfaces

British company Focusrite were a highly respected boutique manufacturer of iconic mixing consoles, pre-amps & other associated hi-end studio processing equipment. In the early 2000s they entered the audio interface market with their initial offering of the Saffire Firewire interfaces, quickly following up with their first USB audio interfaces starting with the Scarlett 2i2. Focusrite continued to evolve their audio interface product line & have become one of the biggest players in audio interface products today.

Focusrite Scarlett 2i2

Launched in 2011, the 1st generation Scarlett 2i2 was Focusrite's first USB audio interface, delivering two high quality Focusrite pre-amps in an easy to use USB 2.0 interface which offered two Mono (or dual stereo) Mic or Line/instrument inputs, two analog main monitor outputs & separate headphone connection with it's own volume control. The 2i2 entered it's 3rd generation build in 2019, switching to USB-C connectivity and bringing aboard Focusrite's proprietary 'Air' mode. The all-analog Air circuit allows users to emphasise transient response, brighten sources and bring additional clarity to their recordings.

Focusrite Scarlett 2i2

Launched in 2011, the 1st generation Scarlett 2i2 was Focusrite's first USB audio interface, offering two high quality Focusrite pre-amps in an easy to use USB 2.0 interface offering two Mono (or dual stereo) Mic or Line/instrument inputs, two analog main monitor outputs & separate headphone connection with it's own volume control. The 2i2 entered it's 3rd generation build in 2019, switching to USB-C connectivity and bringing aboard Focusrite's proprietary 'Air' mode. The all-analog Air circuit allows users to emphasise transient response, brighten sources and bring additional clarity to their recordings.

Focusrite Scarlett 2i2

Launched in 2011, the 1st generation Scarlett 2i2 was Focusrite's first USB audio interface, offering two high quality Focusrite pre-amps in an easy to use USB 2.0 interface offering two Mono (or dual stereo) Mic or Line/instrument inputs, two analog main monitor outputs & separate headphone connection with it's own volume control. The 2i2 entered it's 3rd generation build in 2019, switching to USB-C connectivity and bringing aboard Focusrite's proprietary 'Air' mode. The all-analog Air circuit allows users to emphasise transient response, brighten sources and bring additional clarity to their recordings.

Other classic old cards & interfaces

Many other companies delivered soundcards & both Firewire & USB interfaces to the market over the years, from early

Korg 1212 i/o & Soundlink

Released in 1996 the Korg Soundlink PCI card was an offshoot of the Korg Soundlink stand-alone digital editing system. The 1212 i/o card was sold separately and two rack units were available offering ADAT based 8 x 8 input & output. The card itself had only stereo i/o, S/PDIF & Clock on adapter breakout cables. The 8 ADAT connectors plus stereo S/PDIF & the analog stereo i/o gave a total of 12 in/outs, hence the card's name.

The Korg 1212 i/o Soundlink shipped with PC & Mac ASIO drivers & was an early solution for ADAT based multiple i/o for Cubase & other DAW's, or you could of course use it without the optional rack i/o units connected to an actual ADAT recorder machine or an ADAT compatible digital mixer.

The 880 A/D rack featured two Mic inputs 1 & 2 with a further 6 inputs (3-8) on 1/4" connectors, plus Word Clock input on a BNC type connector. The 800 D/A rack featured 8 x 1/4" outs. Both units has ADAT i/o connectors of course.

Emagic Audiowerk8

Released in 1997 for a cost of £499 GBP, the Audiowerk8 signalled the beginning of the move by Logic Audio to become the full on DAW we know today

Terratec EWS88MT

Released in 1999 for £399 GBP, the Terratec EWS88MT was one of the first of the new breed of PCI busmaster audio interfaces which began appearing at this time and it sold very well indeed, offering 8 Inputs & outputs as well as S/PDIF all at 24-bit with up to 96kHz operation & with no real competition at the time for such specifications. The EWS88MT is 24-bit & operates up to 96kHz. The eight gold-plated RCA phono Inputs & Outputs allow you to select between -10dBV /+4dBu in the software control applet. Additionally the unit has digital In/Out S/PDIF on RCA, plus a little mini jack socket which provides a 16bit/48kHz stereo main mix out if required. The main breakout box housing the 8 main Inputs/Outputs is fully shielded & designed to fit into a 5.25" CD-Rom drive bay, but if located away from the computer, the system was supplied with a generous 2.5 meter long multi-pin connecting cable. The breakout box also houses the MPU-401™ compatible in/out MIDI ports. The EWS88MT shipped with low latency ASIO drivers.

Audiotrak Maya

Released around 2001 under the Audiotrak brand which was a low-cost consumer division of the ESI/Egosys group, the original first version AudioTrak MAYA was used in the cheapest Carillion music PC systems which were sold at the time in various configurations.

The MAYA came with various driver support - ASIO 2.0, DirectSound, MME & also they had been trying WDM drivers on the SONAR newsgroup where they got a few people to beta the card/drivers - The results seems on the majority to be ok.

The Maya uses a 20-bit DAC, (digital-to-analog converters) & 18-bit ADC (analog-to-digital converters). All analog in/out is via RCA-connectors and whilst the Maya had a lower bitrate than 24-bit cards which were starting to appear at the time, the sound quality was quite good & clear given the cheap price. One unusual feature was the included microphone preamp with phantom power on an additional 1/4" TRS input rather than a proper XLR mic connector.

The MAYA also provides an optical digital output via either S/PDIF RCA or TOS-Link which handled signals at either 44.1kHz or 48kHz sample facilitating transfers to MD or DAT recorders.

The MAYA sold well and helped establish the Audiotrak brand with the expanded MAYA44 following on from this original stereo i/o Maya card.

Audiotrak Maya44

Released around 2003 under the Audiotrak brand which was a low-cost consumer division of the ESI/Egosys group, the MAYA 44 become a big seller due to its decent sound quality & low price combined with the usual quality drivers you could expect from a company backed by German company RIDI Multimedia. The MAYA44 went through various revisions including the MKII version (pictured in red above), with the unit finally being badged as an ESI product, sporting the same all-white livery of the ESI Julia.

The original MAYA44 had 20-bit D/A converter and 18-bit A/D converter while the MKII version upped this to full 24-bit 96kHz spec. The MAYA44 offered 1/4" inputs & outputs as opposed to the usual RCA Phono connectors, but to fit into the space this meant the sockets were stereo, so you get 2 x stereo L/R inputs & 2 x stereo L/R outputs on gold plated TRS connectors as well as digital RCA phono coaxial and optical outputs.

The MAYA44 shipped with the EgoSys E-WDM drivers with the usual ESI group DirectWIRE patching app as well as ASIO 2.0 and GSIF.

The Audiotrak brand also released the MAYA44 USB around 2003 and other products including the MAYA1010

Tascam US-122

Designed by TASCAM and Frontier Design Group, the US-122 appeared in 2003 and was the baby of the Tascam audio interface range retailing at a low consumer price of around £179 GBP. The US-122 arrived with ASIO drivers ready to go for Windows XP, Vista, Mac OS 8.6, OS 9 & early OSX versions as well as Core Audio support & sold quite well given it's decent magazine reviews combined with the trusted & respected Tascam brand name. The US-122 came bundled with Steinberg Cubasis. The current equivalent model from Tascam is the US-2x2

24-bit AD/DA resolution
2 x channel audio inputs and outputs
1 MIDI IN and 1 MIDI OUT
2 XLR balanced MIC inputs with volume control
2 x 1/4 inch balanced LINE/GUITAR inputs with volume controls
2 x phono unbalanced LINE outputs with volume control
2 x 1/4 inch balanced INSERTS
Power supply via USB
Phantom power (48V) for microphones
Input source selector between MIC/LINE and Guitar
Direct Monitoring function with a dedicated level control, On/Off switch, and Mono switch
Headphone output with volume control

Hercules 1612 FW

Designed by TASCAM and Frontier Design Group, the US-122 appeared in 2003 and was the baby of the Tascam audio interface range retailing at a low consumer price of around £179 GBP. The US-122 arrived with ASIO drivers ready to go for Windows XP, Vista, Mac OS 8.6, OS 9 & early OSX versions as well as Core Audio support & sold quite well given it's decent magazine reviews combined with the trusted & respected Tascam brand name. The US-122 came bundled with Steinberg Cubasis. The current equivalent model from Tascam is the US-2x2

Record on PC and Mac up to 16 simultaneous inputs:12 analogue inputs

‍2 mic/line inputs (Neutrik™ combo XLR/¼" Jack) on frontSupport TRS (balanced, for long cables) and TS (unbalanced) modesOn/Off 48-volt phantom power switch to pre-amplify the 2 XLR microphone inputs2 Hi-Z switches to set a high impedance of 100 Kilo-Ohms on each input to record instruments as a guitar or a bass2 gain buttons to set the gain level on each input (Up to 50db gain)10 analogue line inputs (jack ¼ (6.35mm) on rear panelSupport TRS (balanced, for long cables) and TS (unbalanced) modesSoftware-switch to set the input levels at-10dBV (consumer line level)+4dBu (professional line level)

4-channel SPDIF inputs to record audio from DAT or MiniDisc players
‍2-channel stereo S/PDIF coaxial2-channel stereo S/PDIF optical

‍4 clock modes to synchronize digital recording:
‍Internal clock (Hercules 16/12 FW internal clock)Word clock input (BNC connector)Coaxial SPDIF clock (for slave mode)Optical S/PDIF clock (for slave mode)

Focusrite Saffire

Focusrite had previously worked with Digidesign on a variety of projects including the M-Box audio interface, but the Saffire was Focusrite's first ever audio interface released in 2005, and it marked a new direction for this famous British company that had previously created some of the worlds finest studio mixers, pre-amps, equalisers and other related studio products.

The Saffire was a 24-Bit 192kHz Firewire 400 interface with a twist, in that Focusrite built DSP processing into the unit allowing the Saffire to host onboard processing effects which included Reverb, EQ, Compressor and Amp Simulator. The DSP hosted effects could be utilised for tracking if latency was an issue (or if the user simply preferred to work that way), while a provided software suite of the same effect plugins in both VST & AU format was also part of the package, for use on mix-down running natively on the host DAW.

The Saffire can record from four inputs, provided in the choice of two analog inputs, available as either 2 x 1/4" TRS connectors or 2 x XLR Mic inputs with up to 60dB of gain, with an additional S/PDIF coax input pair also selectable. All four sources - 2 analog & 2 S/PDIF - are able to record simultaneously. 

The Saffire boasts two separate headphone sockets, each with their own volume control, while round at the back you'll find traditional MIDI In/Out sockets, making the Saffire a complete studio tool for all circumstances.

Outputs are provided via 8 x 1/4" TRS electronically balanced connectors on the rear which are clearly labelled numerically 1-8, but which also have the required labelling for surround outputs, making choices painless when connecting for 5:1 or 7:1 mix work. Additionally you can also use the S/PDIF outputs & all 10 outs can function at the same time.

Input & Output RCA phono S/PDIF connections on the rear panel are all output transformer isolated.

Finally the two Firewire 400 connectors & a DC wall-wart power socket make up the rest of the rear panel. Although the Saffire can derive its power from Firewire alone (if connected to a 6-Pin FW400 socket), the DC power supply was included with the package.

The Saffire is controlled by the included Saffire Control app, which allowed the user to create very flexible routing and monitoring mixes (including 5:1 & 7:1 surround mixes), as well as having a 'Track' mode which allowed the user to easily balance the DAW output mix with the recorded signal tracking thru DSP hosted effects.
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The Saffire cost £349.00 GBP on release.

Apogee Duet firewire

When the Apogee Duet was announced & then released in 2007 it was a huge talking point for the industry. Apogee's highly respected and pristine quality audio converters & pre-amps had previously been the reserve of the highest-end professional studio spaces, but now everyone could share in the Apogee quality sound for slightly less than £500 GBP!! This was a really big deal and the Duet sold like hot cakes!

The original FireWire Duet was 24-bit/96kHz & specifically designed for use with Apple Mac computers and more specifically for use with Logic Pro 9 which featured an integrated Apogee control panel, allowing the user to immediately access the Apogee Duet (or the larger 19" rack Ensemble unit) to control & adjust features such as input type, input level, phantom power on/off & Phase reverse, all directly from within Logic Pro 9.

The Firewire Duet has a connecting 6-way breakout cable with 2 x XLR mic pre-amp (or XLR line-level) plugs offering a massive 75dB of gain, 2 x 1/4" balanced/unbalanced Line Inputs & 2 x 1/4" balanced/unbalanced Line Outputs. The main unit then connects to the computer via a frankly much too short firewire cable & features can be controlled either via the special Logic Pro Apogee panel or from the installable stand-alone Apogee Maestro control & mixer app.

Some Duet features however can be controlled directly from the physical unit itself. The centre alpha-wheel Encoder knob functions both as a rotating controller & as a push-button switch, allowing the user to step through Encoder knob 'button-pushes' to access Input 1 & 2 gain levels, stereo output level control and even MIDI control, which once activated allows the centre Encoder knob to send out MIDI CC or song position control to adjust DAW parameters for whatever purpose.

Using the Encoder knob in this way to output MIDI CC control, combined with Logic's Automation Quick Access Controller mode means the Duet can easily write mix automation and other control data without the need for any other MIDI controller... Bonus!

The centre Encoder knob also functions to Mute & Un-Mute the main Line outputs & headphone socket when a longer 'held-down' press is applied, while the Maestro control app allows the user to setup different Mute configurations between headphone & main Line outs when the Encoder knob applies Muting/un-Muting.

Other features however, such as Phantom power switching, input level switching between XLR Mic level or +4dBu / -10dBu XLR Line level & input phase reverse can only be achieved via the Maestro control applet or the Logic Apogee control panel as previously mentioned, which means the Duet Firewire can only be used with full features if the user is running an OSX version which allows the old Maestro control app to be installed.

For your information the Maestro 2 app (version 2.10.2) does work with OS Catalina.

The Apogee Duet firewire has since been replaced by the newer Duet 2 USB model in 2012 & the current & latest version, the Duet 3, was released in 2021.

Terratec EWS64

1998 was purchased in the early 2000's by Creative Labs and old EMU sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. However, soon after, around 2005, EMU brought a range of audio interfaces to the market which caused quite a stir and the EMU 1820m was the flagship product of the range.

Guillemot Maxi Studio ISIS

1998 was purchased in the early 2000's by Creative Labs and old EMU sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. However, soon after, around 2005, EMU brought a range of audio interfaces to the market which caused quite a stir and the EMU 1820m was the flagship product of the range.

Marian Marc 4

1998 was purchased in the early 2000's by Creative Labs and old EMU sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. However, soon after, around 2005, EMU brought a range of audio interfaces to the market which caused quite a stir and the EMU 1820m was the flagship product of the range.

Marian Marc 4

1998 was purchased in the early 2000's by Creative Labs and old EMU sampler traditionalists were aghast at the idea they had been taken over by a 'soundcard company'. However, soon after, around 2005, EMU brought a range of audio interfaces to the market which caused quite a stir and the EMU 1820m was the flagship product of the range.

The Digidesign Pro Tools systems

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The Pro Tools timeline

Sound Tools

1985 and Pro Tools roots started with Sound Designer, a sample editing software running on the first Apple Mac computer created by two UC Berkley graduates, Evan Brooks and Peter Gotcher & was initially developed for E-Mu samplers it was expanded to work with other sampler brands. In 1987 Apple released the Apple Macintosh II which featured card slots for the first time. Brooks & Gotcher decided to investigate developing Sound Designer into a fully-fledged audio editor using card based DSP processing (computers of the time didn't have the raw CPU processing power to process and deliver high quality audio). Motorola teamed up with Brooks & Gotcher & they jointly developed the 56K Series DSP processor project and software required to make the DSP processor work with Sound Designer.

Sound Tools debuted at the January 1989 NAMM show and was marketed as "The first tapeless studio". The Sound Tools software working in conjunction with the NuBus Sound Accelerator card, equipped with one Motorola 56001 processor. The card provided 16-bit playback and 44.1/48 kHz recording through a two-channel A/D converter (AD In), while the DSP handled signal processing, which included a ten-band graphic equalizer, a parametric equalizer, time stretching with pitch preservation, fade-in/fade-out envelopes, and crossfades ("merging") between two sound files

Roland TR-808

A cheap, controllable, genuine Roland oldie which can be clocked with midi-CV. It has plenty of realtime controllers to mess with & a built-in pattern sequencer, sorta like an SH-101 without the keys.

Roland TR-909

The old fabled monosynth. First port of call for thumping solid basslines & much much more.

Boss DR-55

The famous Juno 106. Something of a legend in dance music production as it offers classic Roland analog oscilagtors with MIDI.

Korg KPR-77

Another of the few budget old Roland synths that won't break the bank. Needs a CV-clock to run the sequencer or you can play it live from the keys. Lots of realtime controls with this affordable classic.

Roland CR-78

An often overlooked bargain bucket old classic The Jen SX doesn't have alot of sound variety, but a very nice filter. Check one out.

British hi-fi speakers

'British' speakers was a term coined back in the old days which not only meant the speakers were British made, but more importantly it refered to a pair of monitor speakers which delivered a 'flat' output, meaning they didn't hype the sound at all like typical hi-fi speakers from Japanese companies. If you go back only 20 years ago. Donec laoreet et leo at iaculis. Nunc et sem id eros gravida ornare. Vestibulum quis ex nec lacus tincidunt lobortis. Vivamus nec suscipit sem, nec sagittis urna. Etiam feugiat lacus ut dui convallis fringilla. Integer tincidunt purus vel dapibus venenatis. Vivamus blandit mauris at massa aliquet, nec pretium ipsum iaculis. Donec scelerisque, magna sit amet pulvinar tincidunt, nunc massa dapibus eros, fermentum elementum metus massa quis eros. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos.

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Classic groovebox samplers

Novation Drumstation

The original & best! Superbly modelled 808 & 909 kits with separate outs for drums & you can mix & match kits to create 909-808 hybrids, all in a handy 19" rack format.

Korg Electribe R

A cheap, controllable, genuine Roland oldie which can be clocked with midi-CV. It has plenty of realtime controllers to mess with & a built-in pattern sequencer, sorta like an SH-101 without the keys.

Korg Volca drum

From early hip-hop to Prince, this box has seen a lot of use in huge selling tracks in various genres.

Clavia Nord drum

Once the top-end sample drum box from Roland, if you can find them this unit takes expansion cards loaded with 909 samples and more.

Elektron Machinedrum

Another of the few budget old Roland synths that won't break the bank. Needs a CV-clock to run the sequencer or you can play it live from the keys. Lots of realtime controls with this affordable classic.

Yamaha AN-200

An often overlooked bargain bucket old classic The Jen SX doesn't have alot of sound variety, but a very nice filter. Check one out.

Software samplers

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Top selling audio interfaces

Here's the top selling Drum Boxes at Thomann's store based on previous months sales figures. This will give you an idea about what products are currently popular at Europe's largest retailer.

Arturia Microfreak

Behringer Neutron

Behringer Pro-1

Behringer TD-3

Korg Minilogue XD

Moog Subharmonicon

Behringer Crave

Sequential Prophet 6

James

23-July-2020

SDR-1000+ Reverb has to be one of the most subjective tools in audio. Undoubtedly the SDR has some interesting heritage (Sony) in additon to some useful features that make it more flexible than other comparable units from that era (true stereo, basic routing of L & R processors, midi patch selection). But compared to other verbs around the same price point ($100-200 range), Im not feeling any baseline "magic" from its sound. More like a workhorse, again within the scope of the time period these were being made, which isnt necessarily a bad thing.

Perhaps if you're hunting down a specific production chain or setup (some well known artists apparently used these), otherwise much better uses of rack space available out there for the same money imho.

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an underated usb interface, Tascam has continued to update drivers and improve performance for this product. I own two of them, and like the size, sound quality and mulitude of connection and paths available.

I use the 64 bit windows 7 driver without problems. These are available used quite cheaply and are handy for vocal and guitar recording.The only drawback is the low profile knobs, which were designed not to snag when carried in a backpack or bag. it takes a while to get used to using two fingers to turn the knobs, instead of 1 finger and your thumb, but it becomes intutive like scratching a record. I colored the knobs on mine with different color sharpies to make it easier to quickly see which knob I wanted to adjust.

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awesome sound. capable of mybloodyvalentine type swirling sounds, as well as verve-y sonic paradise sounds. it is a permanent addition to my setup.

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i bought this delay a couple of months ago to use in my synth/drumachine setup. I was expeting kind of lofi style but was suprised with this "meaty" analog sound.. very musical and at once became a favourite.. it sounds like a instrument! love it..

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