For example: add-in boards which permit the use of S-Mux on all 16 ADAT channels or which render the A16 Ultra a TDIF-1 compatible converter. Expansion options Various expansion options are planned to boost the performance of the converter further.
The A16 Ultra packs concentrated technology into a single-height 19″ rack. The A16 Ultra remembers all of its settings when you power it down, so that you can pick up where you left off in your next session. VU meters for precise level setting The 16 5-segment level indicators permit convenient, precise setting of signal levels and allow you to keep everything under visual control at all times. BNC Wordclock I/O for synchronization of your complete digital setup. Ideal for use with all CreamWare systems that are equipped with Z-Link. With Z-Link, simultaneous transfer of all 16 channels at 24 bits / 96 kHz is possible. This CreamWare-proprietary interface format, based upon FireWire technology, offers greater transfer bandwidth than ADAT. Although the ADAT standard does not include sample rates above 48 kHz, the A16 Ultra can transfer audio at 96 kHz using S-Mux mode, in which pairs of ADAT channels are coupled, giving you a total of eight S-Mux channels. S-Mux permits ADAT transfers of 96 kHz audio. Two independent ADAT interfaces Dual 8-channel I/Os, 24-bit, fully compatible with all devices which feature this digital interface. Provided as fully-symmetrical balanced phone jacks. If you want to soften further - then some straight analog saturation through a reasonable quality analog channel strip (either stand=alone as a pre-amp/channel strip, or as a decent mixer channel) adds the finishing touch - something with decent headroom that doesnt go straight into hard clippping.16 high-quality 24-bit / 96 kHz AD/DA converters. So far I have found plugin modeller to be better than cheap hardware unit for capturing the overall abused tube effect. If your after an exiter - well I would rather get an SPL vitalizer - even the cheaper mk2T. The real problem I guess is that cheap one use a low voltage and so basically function as screwed up exiters instead. Rarely have I found a cheap device ther prgresses through soft saturation to smooth distortion, more often very light distortion to harsh distortion, and they allways seem to be lacking the right compression/dynamic response which to me is a key factor in the result. Im still on the fence - some device can actually be a bit harsh, or basically do bugger all unless you go for high quality - ie well over 1000UKP - maybe 1200USD+ (given typical US prices vs UK prices). Ive keep going through phases of think about tube 'warmth' blah blah. Some boxes will fool you and make you think it's good, because it's better than what you know/have, but when you look back on it, you'll be like yeah that pre was dark and crappy and made my music muddy, blah blah blah. But the fact of the matter is that you actually aren't doing much to the sound because the box isn't much to begin with. Even if something is crap, people say yeah it was pretty cool and improved the sound (whatever that means) and cost me little money too. Many people lack experience with hearing and knowing better gear. It'll be well worth it and you'll thank me in the long run.įYI, there will always be "good reviews" of everything on the market except if it terribly sucks.
I strongly advise you, if you want cheap sound, get the Presonus, if you want good quality sound you can hear, spend a little more. The Groove Tubes Vipre Now you're talkin'! Well worth it but those can be pricey. You could get 2 channels for relatively cheap (1200) considering these are pretty dang nice pres. I would look at a Sebatron tube pre if I were you. Those cheapos you mentioned will sound cheap compared to a lot of pres. you get what you pay for in outboard gear. [b I would imagine the results are very subtle though judging by the price tag