Yamaha SW1000XG
Yamaha's soundcard is a synth, a mixer and an effects unit in one. Martin Walker finds plenty to talk about.
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Yamaha's soundcard is a synth, a mixer and an effects unit in one. Martin Walker finds plenty to talk about.
Superficially, it may look no different from other soundcards, but Yamaha's new DSP Factory is a real TARDIS when it comes to facilities. Martin Walker explores a soundcard that's bigger on the inside than it is on the outside.
If you want more of everything digital, why not try 24-bit recording at a 96kHz sample rate? Martin Walker is floored as his dynamics increase in leaps and bounds.
As the popularity of the ADAT optical 8-channel digital interface has grown, so PCI soundcards have appeared to transfer audio into this format and out of computers. Previous cards have included one optical connector, but Sonorus's STUDI/O has two, permitting 16-channel operation. Martin Walker makes light work of his optical cables.
Multichannel PCI-card based digital audio recording systems are increasingly common these days, but not all of them focus on the quality of the onboard converters to the extent they should. Dave Shapton checks out a new card from far-sighted digital problem-solvers Aardvark that promises not to throw out the baby with the bathwater.
There's plenty of choice when it comes to audio cards for Windows 95/NT PCs — Janet Harniman-Cook finds out what sets the new WaveCenter from Frontier Design Group apart from the pack.
Combining the famous Lexicon reverb sound with the latest hard disk recording technology, the Lexicon Studio system should win many admirers. Martin Walker falls in love.
Hard disk recording always strtches any computer to the limit, and if you want eight simultaneous tracks or more you'll definitely need help. Martin Walker finds out whether the V8 system can come to the rescue.
Pro Tools has made a leap to 24-bit, but does the increased theoretical quality really translate to a better sound, and it is worth the extra money? Mike Collins finds out.
When it comes to computer audio editing, the user interface is extremely important. Having physical controls to grab hold of has already give Ensoniq a lot of advance publicity for their Paris hard disk recording system.
Pro Tools moves up a bit (or eight) and Mackie's dedicated hardware controller for the system finally arrives. Mike Collins gets an advanced viewing.