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Comments
@Telefunky
I was very impressed by the D to A's on iOS devices,
I also faced the same thing when trying to align the signal
which is much easier to do via the desktops which is
understandable as desktops have had decades to focus on this stuff.
Can't fully agree with the conclusion, because my stuff on desktop is decades old
But on the other hand it's hardware based, using Digidesign and Creamware DSP cards and the OS doesn't even see the audio streams...
@Telefunky
You still have the Creamware stuff, awesome.
That stuff is legendary.
I based my system around ADAT's and then ADAT lightpipe.
I had the Korg 1212 and the mixing desk to match.
The desk went on the blink a couple of years ago
after over twenty years of faithful service.
All it basically needs is for some of the capacitors to be
replaced then I will press it back into service.
The reverbs in it are perfect for drums.
That desk was probably the 168RC Soundlink, I sold mine for a good amount, but still have the additional input/output converters in the attic.
I really like the color of it's 18 bit physical/16 bit data output (same chipsets as used in Creamware's first A16 converter). Small grain of salt: the magnetic field of the power transformers leaks into dynamic microphones placed within an 8 ft distance around the box.
Imho the 168RC is a cool desk and worth servicing
I've invested a few grands into the Creamware system, but never regretted it.
The TDM system on the other hand was dead cheap, just $200 for 2 cards and an 8 channel io-box with cabling. Put into an old G3 450MHZ Powermac and was up and running in no time from a 1GB flash Disk-on-Module, 400 MB still free... LoL.
It's main task is fx processing (Pitchblender and Timeblender which are essentially algorithms from Eventide 19" units), 1176, LA2A and Rane dynamics, Realverb and Lexiverb.
The latter is dissed to hell on gearslutz, but I don't mind - it sounds cool... and wasn't labeled 480 anyway
The IOS system is connected to both with 2 stereo analog busses by the iConnectAudio4+, which complements the 'digital vintage' stuff in a nice way.
oops, there's no Rane dynamics package - should be Drawmer.
@Telefunky
Exactly, it is the Korg 168RC,
As you say, I also like the sound of it's converters,
I use it to route audio back into my desktop system.
I didn't know that about the magnetic field,
I'll bear that in mind when I've finished servicing it.
Yeah, not surprised by that in regards to Gearsultz.
Nice lineup of FX, the Eventide stuff is quite remarkable and has aged well.
The 1176 and the LA2A are worth it alone.
I haven't come across a TDM system in years.
I did a lot of rock production on those back in the day
with a singer songwriter producing his first album.
You must achieve some incredible mixes with that rig.
Nice.
Good that you mention the Behringer SRC. If there is one device that is consistently talked about when it comes to "creating high-end sound", it's this one!
Do you know the valve hack?
Look here:
http://lampizator.eu/LAMPIZATOR/TRANSPORT/behringer/Behringer.html
There's also a russian hack using smaller valves, you'll find it somewhere in the net.
Don't worry about the magnetic field - it applies to the 880 AD and DA converter boxes only.
(the desk has a regular switching PSU)
It's not a severe problem, but I only use dynamic microphones. With acoustic guitars they deliver very low signal levels and then it may get obvious in the more silent parts.
Atm I use an Audient ID22 for this purpose, usually with Multitrack DAW and an iPad mounted to the mic stand... sooo convenient and relaxing to track
There also was the Rev2496 from that series of 19" boxes, with a stunning sound considering it's $100 price tag (2nd hand). Audio processing by a Sharc ADSP 21161...
(btw I'm a cofessing B-Hater)
@rs2000
I did the research and chose not to do them.
I would do if I had another one which most probably I will do eventually.
It has served me very well since I got it and
I love the sound of it's D to A's straight out of the box.
The upsampling on it was an eye opener when I first got it
when I was on location recording in the South of France.
Very useful studio tool and yes it is the gateway to hi end sound.
Apparently with the modifications it can easily stand up to
the hi end D to A converters such as the Benchmark DAC.
I've seen that link, very impressive.
I have three valve preamps, two of them identical.
The main one is a TL Audio 5051 MK i.
It's a solid workhorse, if you can get one, get one.
I use it as standard in my music room, all the singers
that hear their vocals through it love it.
I also have two Reotube GX2's from iCon Pro Audio.
@Telefunky
I've heard about the V-Verb yet to get one.
I've only ever had a few Behringer products.
The two that I have are my current mixer desk for the iPad
which I only got for £20 secondhand and the SRC2496.
The other was their first digital desk the DDX3216 which
I had found to be really good except for the power supply
which had issues.
Their latest range of digital mixers based upon the X32 are superb.
All of the sound engineers that I know love them for both live and studio.
I still own my REV2496 and the price was unbeatable at the time, but now, many years later, if I had to get another low-cost outboard reverb, I'd rather look for a Lexicon MPX1. It has very good smooth/lush reverb too but it's much more powerful in the non-reverb fx area. You really need the manual to program it (hardly any good editor sw available due to its awkward MIDI spec) but you get rewarded with uncommon possibilities, and its price second-hand is not much higher than the REV2496.
Their PCM70/80 still score high in 2nd hand prices.
The most affordable Alex ($50, no midi) is a nice alternative to DAW reverbs, Reflex and LXP-1 (extensive midi control) can be found for about twice this amount.
The MPX-1 marks the end of the classic line of Lexicon units, from then on it's Harman selling on the fame of the brand.
My favourite delay is the Lexicon Vortex, programming hell by numbers, slightly gritty, but can do subtle things hard to find elsewhere.
@Telefunky
I used to have the Reflex, loved the resonator in it.
I still have am MPX200 in my rack, it has SPDIF in/out.
When I bought new, it was £300 which was a big deal
for a small home studio in those days.
22 Years later still solid.
I'm currently rebuilding my studio for various reasons so
it's not wired back in yet but once it is, that's my go to reverb
for all things that need reverb.
I agree in regards to the PCM70/80, it was the main reason
why I got the AltiSpace reverb, because of it's classic reverbs.
I wouldn't mind a Vortex actually.
The Vortex is their most crude (16bit fixed point math DSP) and bizarre unit.
But it's documentation is the reference for any developer interested in delay algorithms.
If you're on studio rebuild, an Ursa Major Spacestation is worth checking (you may have had it in PT, though). There's a pedal/desktop version with the same emulation code as in PT.
The hardware is rare and expensive, but imho it's incredible on vocals.
@Telefunky
I just had a look at the Ursa Major Spacestation.
Lovely.