Clarett USB lays down the challenge to interfaces twice the price and brings the Clarett sound to both Mac ® and PC over USB. The range features specially designed high performance, low-noise (-128dB EIN) mic pres with a low distortion, ultra-linear design that guarantees a clean, open and transparent sound, giving accurate representation of the original performance. SPDIF, also written as S/PDIF, stands for Sony/Phillips Digital Interface, and is an interface to transmit digital audio. In this tutorial, we will explain everything you need to know about this. The Crimson SPDIF I/O is compatible with the AES3 format this is sometimes referred to as SPDIF Professional format. Note that there are electrical differences between.
The recent addition to the 24' iMac Intel gizmo is a JBL ESCXITE 5.1 Dolby sound system. Linked via optical TOSLINK cable via the 3.5mm combined audio output at the rear of the unit. Audio is fine, levels are fine, BUT, when playing 'shop bought' DVD's known with digital 5.1 sound, the JBL unit momemtairily (less than half a second) recognises 'DIGITAL' but then flicks back to 'SURROUND' There is no way of overriding this on the JBL. I have spent all day via APPLICATIONS/ UILITIES/ MIDI trying to set up a multispeaker output, but, the only audio I can get is when the Internal Output is config'd for 'STEREO' If I go down the SOUNDFLOWER multi-channel route, I can have my 5.1 speaker set-up but no audio, and no white noise on test either. Yes, I have tried all the different sampling variations, and still I cannot get anything. Yes I have tried re-starting after each variant too. I am now head buryingly frustrated and now totally lost.
I use audio and video in my profession and so am not at basic levels of knowledge here, but I must say that I am totally flummoxed with this one. You guru's of MAC out there must have a solution. IMAC Intel Core 2 Duo Mac OS X (10.4.8). Apple Footer.
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Soundcards – for electronic music producers, they’re the central hub of input and output to a digital audio workstation in a home studio. Today we’ve got a massive roundup of five soundcards under $1000 for producers who demand quality while still remaining within a budget.
Read on to see how offerings from RME, Apogee, Propellerhead, Akai, and Alva stack up! The pictured soundcards in the above image are the Balance, EIE (not the Pro model), and Nanoface. When it comes to choosing a sound card for modern electronic music production setups, there are no shortages of affordable, capable options. With the advent of computer-based digital audio workstations, it’s now possible to record, mix, and master everything ‘in the box,’ eliminating the need for a plethora of outboard gear. Consequently, a new class of ultra-portable audio interfaces have emerged that despite having a limited number of inputs and outputs, are jam-packed with all the features you need to create computer-based music. In this roundup, we’re featuring five of these sound cards that span a range of prices and features to help you determine which one is perfect for you. Already know what you want?
Jump to a specific review here:. Price: $799 MSRP,.
Included: Sound Card, Breakout Cable + Extension Cable, Carrying Bag, USB Cable. Weight: 1.1 lbs. Connectivity: USB, 2x XLR Inputs, 2x XLR Outputs, 2x ADAT/SPDIF Optical I/O, 2x ¼ Headphone Outputs, 1x ¼ Hi-Z Instrument Input, Power Supply (Optional). Recording Resolution: Up to 24 bit, 192khz First is the RME Babyface, a card that sports both a comprehensive feature set and a relatively high price tag.
RME has an excellent reputation in the pro audio world for crafting high-quality interfaces with innovative features and solid drivers. The Babyface is no exception and includes many features found on RME’s higher end interfaces. For most project studio users looking to purchase a high-end two-channel interface in the price range of the Babyface, the chief concerns would be sound quality of the A/D converters & mic pre-amps, latency performance, and ease of use. RME’s custom M- series converters sound crisp, accurate, and among the best of the units tested.
Simple Spdif I/o Setup For Macbook Pro
The Babyface’s converters will definitely not be the weak link in your monitoring chain, and with its large wheel to control the output, input, and headphone volume, the Babyface doubles as a monitor controller quite handily. While playing back a relatively quiet, un-mastered recording, I was able to set a comfortable listening level using only about a third of the Babyface’s available output gain. The mic pre-amps also performed well, providing an accurate recording of vocal, guitar, and piano tracks. The Babyface delivers up to 60dB of input gain, which is enough for recording even demanding phantom-powered ribbon microphones. The sound of the preamps and converters did not color the sound in any way but lent itself quite well to post-recording effects processing. An often-overlooked quality in sound cards are the drivers. Some manufacturers invest all their time and money in crafting stellar pieces of hardware then write sub-par drivers for their devices, often as an afterthought.
On OS X, the Balance and Duet 2 both use the Core Audio driver built into the operating system which provides easy setup and integration with on OS X and iOS, but delivers less than optimal latency performance. RME crafts its own custom drivers, which ensures optimal functionality and latency performance.
I was to run a fairly demanding control project full of third party VST instruments and effects in Ableton Live 9 at just 32 samples (2.15 milliseconds of latency) at a sampling rate of 44.1 khz with the RME Babyface, making it by far the best choice out of any of the sound cards listed for driver stability and latency performance. The Babyface is, for the most part, exceptionally easy to use. Weighing just 1.1 lbs, it is light enough to be easily portable, but is heavy enough to ensure durability and quality craftsmanship. Connectivity is provided via a breakout cable ( pictured at left). The only thing that isn’t so user-friendly is RME’s TotalMix FX software control panel. Although it’s clearly a powerful piece of software that promises to help you route, affect, and monitor all the audio coming into and going out of the Babyface, its interface is more than a little daunting and prevented me from fully coming to grips with it. Admittedly I’ve had little need for the bulk of its features, aimed at live sound and conventional studio engineers who must manage the monitoring of multiple musicians.
Simple Spdif I/o Setup For Mac
These features have far less relevance for electronic musicians generating all their sounds in the computer. Still, TotalMix FX provides you with features like Dim, Talkback, Direct Monitoring, and extensive routing options usually found on high end recording consoles to confidently handle any recording situation. Summary: the RME Babyface is an excellent choice for project studio musicians. The top-notch sound quality of its converters and preamps, exceptional drivers, and robust construction make it a pleasure to work with as long as you can reconcile yourself with the relatively high price tag. It is also worth noting that many of the features found in TotalMix FX that surely contribute to the Babyface’s higher price tag aren’t particularly relevant to electronic music producers operating exclusively in the computer, so if you’re after a simple, no frills two-channel sound card with superb sound quality, you may want to consider the Apogee Duet 2 or look elsewhere to save some money.