NAMM Winter Show News 2008

MOTU Previews Digital Performer 6 At NAMM 2008

We tried to video the MOTU Demo but they shut us down.......they didn't want us to show you a sneak preview of Digital Performer 6, a major upgrade to MOTU's flagship audio sequencer software. New features include a complete user interface redesign, XML file interchange with Final Cut Pro, other industry-leading film scoring enhancements, track comping, support for interleaved broadcast WAVE audio files, enhanced support for operation as a software front end for Pro Tools HD systems, pre-rendering of virtual instruments, better support for third-party Audio Unit (AU) plug-ins, the ability to "bounce and burn" directly to an audio CD and many other productivity enhancements.

User Interface Redesign

In addition to its updated "look and feel", Digital Performer 6 has been further streamlined to allow existing users to work faster and new users to learn the program quickly and easily. Highlights include: (Hmmmm looks like Logic......)

* Vertically resizable track list - Gives users a better look at each track's settings and graphic overview.

* Streamlined window design - Windows look cleaner and information is easier to see. Zooming and navigation controls have been unified throughout. Live window resizing allows users to see the contents of the window as it is resized.

* Window tabs - Users can create as many tabs as they wish in any cell in the consolidated window, even sidebar cells.

* Inspector palettes - Important settings and information now appear in inspector palettes, which can float as independent windows or "pop into" the consolidated window as sidebar cells with tabs. New inspector palettes include Snap Info, Event Info, Cursor Info, Selection Info and others.

* Universal track selector - The unified Track Selector conserves screen space by offering one track selector that updates when you switch to a different window tab.

Track comping

DP6's new track comping features are very flexible and offer limitless comping possibilities. Previous versions of Digital Performer allowed users to record multiple takes into a track, and then choose one take in the track for playback and editing. Now users can choose "Show Takes" to view all takes side by side. Using the new Take Tool, users can easily make split points across all takes and then simply click the desired section from each take to quickly create a composite (comp) take consisting of the sections selected from each take. In the resulting comp take, crossfades can be applied, along with all standard operations for editing audio regions in a DP track. Users can then use the resulting comp track as yet another take itself, which allows users to "comp the comp" by incorporating any portion of an existing comp take into a new comp take.

The "Turn All Takes Into Tracks" and "Absorb Tracks" commands allow users to explode takes into tracks, or collapse tracks into takes, respectively - although in many respects takes behave just like tracks, with their own play/mute buttons, output assignements, automation settings and so on. Users can freely move tracks between the two models (takes and tracks), which is especially helpful for working with projects created in earlier versions where takes may have been spread across multiple tracks.

ProVerb convolution reverb plug-in

ProVerb is a CPU-efficient convolution reverb plug-in for DP6 that delivers the sound of stunningly realistic acoustic spaces to any track or mix. Dozens of preset acoustic spaces (impulse responses) are included, and users can simply drag and drop any standard audio file into ProVerb's waveform display to add their own. ProVerb has been heavily optimized so that all parameters can be adjusted in real time, including those that modify the impulse response waveform itself. What might take 10-15 seconds in other convolution products occurs in real time in ProVerb, as you adjust the parameter. Users can quickly and efficiently sculpt their sound with predelay, damping, 4 bands of EQ and four modes for adjusting the wet/dry mix.

ProVerb also includes a unique Dynamic Mix feature that automatically "ducks" the wet signal as the dry input signal rises, then raises the wet mix as the dry signal level subsides. Properly tuned, this feature allows a "wetter" mix while retaining intelligibility of the input signal. Threshold, sensitivity and strength settings are provided, allowing the feature to function just like a mix engineer expertly "riding" the wet/dry mix control during playback.

MasterWorks Leveler

As the latest addition to DP's growing line of advanced audio processing plug-ins, the MasterWorks Leveler is an accurate model of the legendary Teletronix LA-2A optical leveling amplifier, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics. Conventional compression and limiting with threshold, attack, ratio, release, etc. do not apply here: the heart of the LA-2A is the T4 opto-coupler, a photoelectric device with almost magical (signal dependent) self-adjusting behavior that makes optical compressors the tool of choice for smoothing out just about any audio material, from vocals to bass guitar to full-program mixes, without destroying perceived dynamics. As a result, the MasterWorks Leveler controls match the front panel of the original LA-2A: Gain Reduction and Makeup Gain knobs, along with Limiter/Compressor buttons and an accurately modeled VU meter that adheres to IEC standards. The LA-2A evolved over the years, producing slightly different characteristics in each generation, so the MasterWorks Leveler also provides four different LA-2A models: slow/fast vintage and slow/fast modern.

XML file interchange with Final Cut Pro

Both Digital Performer and Final Cut Pro (FCP) offer complete end-to-end production workflow: Final Cut for picture and DP for complete soundtracks including music, dialog, foley and sound effects. While recent advances in DP have made it the undisputed leader in film scoring features, DP6's new Final Cut Pro XML file interchange features could very well revolutionize the way film scoring and soundtrack production is done. The two most pressing challenges for any soundtrack producer are tight deadlines and last-minute picture edits. DP6 now allows for a dynamic link between the FCP editor and the soundtrack producer working in DP6. This link can be easily managed remotely via emailed XML interchange files (which are very small) or via a dynamic link between DP6 and Final Cut running side by side on the same computer.

Here's how it works. When picture edits are made in Final Cut, the FCP editor can export an XML file that describes all current edits, which the DP6 composer/editor can simply import to then compare and conform all music and audio tracks to the latest picture edits. All changes are displayed in DP6's new "Import Final Cut Pro XML" window, which provides a complete, detailed list of every new picture edit. Double-click any edit in the list, and DP6 scrolls to and highlights the location of the edit in the Sequence Editor time line. The highlight shows a blue border (old position) and red border (new position) for each picture edit. The DP6 composer/editor can then adjust their conductor track, audio data and/or MIDI data as necessary to conform to the new edit, "snapping" their edits to the vertical red line if necessary.

If DP6 is running on the same computer as Final Cut Pro, the "Export Final Cut Pro XML" command sends all tracks (and all sequences) in the current DP project to the project currently open in Final Cut Pro (or any FCP file on disk, if desired), allowing easy transfer of all work done in DP6 into Final Cut at any point during the production process, from previewing dailies to final conform and export from Final Cut.

In the pressure-cooker world of film and broadcast, soundtrack production most often happens late in the overall production cycle, and these time-saving features offer the possibility for a quantum leap forward in up-to-the-minute delivery of changes to music and sound for picture.

MOTU Announces 828MK3 Firewire Audio Interface

MOTU, Inc. has introduced the 828mk3 ($795), a cross-platform FireWire audio interface with on-board effects and mixing. New features include a 32-bit floating point DSP for digital mixing and effects processing, more I/O, 192 kHz operation, true hi-Z guitar inputs, signal overload protection, digitally controlled analog input trims on all inputs, two banks of ADAT/TOSLink optical, MIDI I/O and much more.

"The 828mk3 is the most advanced FireWire audio interface ever developed by MOTU," said Jim Cooper, Director of Marketing at MOTU. "The 828mk3 offers superb reliability and performance, innovative new features that everyone can use, and enhanced standard features that remain unique, such as comprehensive front panel metering and LCD programming."

Digital mixing and effects processing

The 828mk3 provides 28 inputs and 30 outputs in a single rack-space form factor. All I/O is routed to a new on-board 16-bus digital mixer driven by hardware-based DSP with 32-bit floating point precision. The mixer allows users to apply no-latency effects processing to inputs, outputs or busses directly in the 828mk3 hardware, independent of the computer. Effects can even be applied when the 828mk3 is operating stand-alone (without a computer) as a complete rack-mounted mixer. Input signals to the computer can be recorded wet, dry, or dry with a wet monitor mix (for musicians during recording, for example).

Effects include reverb, parametric EQ and compression/limiting. The 828mk3's Classic Reverb provides five different room types, three frequency shelves with adjustable crossover points, shelf filtering and reverb lengths up to 60-seconds. Two forms of compression are supplied: a standard compressor with conventional threshold/ratio/attack/release/gain controls and the Leveler, an accurate model of the legendary LA-2A optical compressor, which provides vintage, musical automatic gain control. Finally, the EQ section provides 7-band parametric EQ modeled after British analog console EQ's, featuring 4 filter styles (gain/Q profiles) to effectively cover a wide range of audio material. LP and HP filters are also supplied with slopes that range from 6 to 36 dB.

The 838mk3's flexible effects architecture allows users to apply EQ and compression on every input and output (a total of 58 channels), with enough DSP resources for at least one band of parametric EQ and compression on every channel at 48 kHz. However, DSP resources are allocated dynamically and a DSP meter allows users to keep tabs on the 828mk3's processing resources. Each input, output and mix bus provides a send to the Classic Reverb processor, which then feeds reverb returns to mix buses and outputs, with a selectable split point between them to prevent send/return feedback loops.

Overload protection

Individual 48V phantom power and 20 dB pad switches are supplied for each of two front-panel mic/guitar combo jacks, which are both equipped with preamps. Both inputs also now include a switch that toggles between the low-impedance XLR mic input and the true (high-impedance) quarter-inch guitar input jack. Both mic/guitar inputs are equipped with V-Limit, a hardware limiter that helps prevent digital clipping from overloaded input signals. With V-Limit enabled, signals can go above zero dB (where limiting kicks in) to as high as +12 dB above zero with no distortion due to digital clipping. Additional protection can be applied to the mic/guitar inputs by enabling the 828mk3's Soft Clip feature, which engages just before clipping occurs and helps reduce perceptible distortion.

Digitally controlled analog input trim

All of the 828mk3's analog inputs are equipped with digitally controlled analog trim controls that allow adjustments in precise 1 dB increments. The mic/guitar input trims can be adjusted using front-panel digital rotary encoders that provide feedback in the front panel LCD. All analog inputs, including eight TRS analog inputs, can be trimmed using the CueMix FX control software for Mac and Windows. This allows users to fine-tune their trim settings for synths, effects modules and a wide variety of analog inputs for optimum levels. Different trim configurations can then be saved as files on disk for instant recall.

CueMix FX software

All of the settings in the 828mk3 are accessible from the programmable front-panel backlit LCD. Users can also launch the CueMix FX control software for Mac OS X, Windows XP and Windows Vista. CueMix FX is a completely new software front-end with attractive graphic mixing, graphic editing of parametric EQ and a convenient tabbed interface for quick access to all features in one window. Three separate tabs show inputs, mix busses (eight stereo busses) and outputs. Users click a "Focus" button on any channel or bus to edit its settings in another area on the right-hand side, which provides separate tabs for graphic editing of parametric EQ, compression and other effects. Each channel displays a graphic thumbnail of EQ curves, compressor settings and other channel specific parameters. There is also a section for talkback and listenback. CueMix FX can be operated side by side with any host audio software for Mac or Windows, and it can be controlled from the Mackie Control Universal Pro automated worksurface.

Comprehensive I/O

The 828mk3 allows users to connect a wide variety of studio gear, including microphones, guitars, synths, keyboards, drum machines and even effects processors. In addition to the two mic/guitar preamp inputs on the front panel, the 828mk3 provides two independent headphone jacks with independent volume knobs, one of which also controls the XLR main outs on the rear panel. This "master vol" knob can also be programmed to control any combination of outputs (analog and/or digital). For example, it can control monitor output for an entire 5.1 or 7.1 surround mix.

Eight balanced (TRS) 24-bit analog inputs and outputs, as well as two XLR main outs and the two preamp inputs, can operate at sample rates up to 192 kHz (a total of ten analog inputs and outputs). Two optical banks provide 16 channels of ADAT optical at 48 kHz, 8 channels of S/MUX optical I/O at 96 kHz or two banks of stereo TOSLink at rates up to 96 kHz. The banks operate independently, allowing users to mix and match any optical formats. RCA S/PDIF connectors also supply independent stereo digital I/O.

Each mic input has a corresponding rear panel send that allows users to insert outboard gear before the signal goes digital. Any input can be used as a return.

Synchronization

The 828mk3 is equipped with Direct Digital Synthesis (DDS), a DSP-driven phase lock engine and internal clock source that produces imperceptibly low jitter characteristics (below the noise floor), even when the 828mk3 is resolved to an external clock source via either word clock or SMPTE time code. The 828mk3 can directly resolve to (or generate) time code via a dedicated quarter-inch time code input and output, without the need for an extra synchronizer.

Expansion, drivers and AudioDesk

As with other MOTU FireWire interfaces, the 828mk3 supplies two FireWire jacks so it can be daisy-chained with additional MOTU FireWire audio interfaces or other devices. The 828mk3 is also fully compatible with the 8pre, a single rack MOTU interface that adds 8 mic preamp inputs to the 828mk3. Because the 8pre connects to the 828mk3 via ADAT optical, its mic inputs are fully integrated into the 828mk3's on-board CueMix FX digital mixer.

The 828mk3 provides CueMix FX and drivers for Mac (OS X) and Windows (XP and Vista) for cross-platform compatibility with virtually all audio software via WDM/ASIO/Core Audio drivers. The included AudioDesk® workstation software for Mac provides 24-bit recording/editing and 32-bit mixing/processing/mastering.

The 828mk3 will ship in February 2008 for a list price of $795.

MOTU Electric Keys

MOTU, Inc. debuted Electric Keys ($295), a cross-platform virtual instrument that delivers authentic sounds of 50 classic, vintage electric keyboard instruments from the last 40 years. This massive 40GB sound library includes over 20,000 meticulously crafted 24-bit 96 kHz multi-samples of legendary electric pianos, electric organs, clavinets, Wurlitzers, tape samplers, string machines, keyboard basses and other rare and exotic electric keyboard instruments.

"Electric Keys puts a slice of music history at your fingertips in the form of classic and rare electric keyboard instrument sounds," said Jim Cooper, Director of Marketing for MOTU. "You can play all those familiar electric keyboard riffs you know so well from the last four decades of rock, pop, funk and jazz, plus you get an intriguing assortment of rare and exotic keyboard sounds that are sure to delight even vintage keyboard devotees. We carefully recorded and mastered the samples to the very highest standards for use in live performance and recording projects of any kind."

Fifty well-preserved and maintained vintage instruments were used to create the sounds in Electric Keys, including models from Fender, Yamaha, Korg, Roland, Hammond, Wurlitzer, Hohner, Elka, Farfisa, Mellotron, Moog, RMI, Arp and others.

Most instrument samples are supplied at 24-bit 96 kHz resolution, but they can be played at any standard sample rate via Electric Keys' flexible 32-bit UVI playback engine. Presets consist of carefully crafted multi-samples with multiple velocities, layers and/or release samples, depending on the instrument. Samples are streamed from disk, so even large presets load quickly and conserve computer memory. Sounds are organized in 12 banks, each with its own authentic look ("skin"), allowing users to install on their hard drive only the banks they wish to use. Electric Keys presets can be loaded into MachFive 2 for advanced sound design and layering.

A simple and attractive software interface

The Electric Keys window offers a few simple controls, including volume, pan, tone and tremolo settings, along with two preset slots, which allow users to layer two sounds using the convenient multi-column preset browser. When a preset loads, the background displays the "skin" for the corresponding bank, but the controls and their operation remain the same, regardless of the unique look and feel for each bank. Once one or two sounds are loaded, the user can simply play, adjusting parameters as desired, while CPU-efficient 256-note polyphony ensures that notes are never cut off due to voice-stealing.

All parameters can be automated via convenient "MIDI learn", where the user can simply right-click any control to assign any MIDI controller. Users can load and save "combis" consisting of a snapshot of the entire plug-in, including effects. Combis can be shared among plug-in formats and the stand-alone version - even across computer platforms. Dozens of factory presets and combis are supplied.

The three-dimensional piano keys across the bottom of the Electric Keys window highlight during playback. Users can click the keys to audition sounds.

Separate multi-effects rack

Users can click the FX button to open the FX-Rack, which is a separate window with eight effects that can be applied individually or in combination as a multi-effect to any preset. Effects include amp simulation, filter, chorus, flanger, phaser, UVinyl (to add "wear and tear"), delay and reverb. Since effects can be loaded, created and saved independently of instrument presets, it is easy to mix and match effects with presets, allowing users to experiment with practically infinite combinations. All effects parameters can be automated with one-click "MIDI Learn" CC assignments.

Plug-in and stand-alone operation

Electric Keys supports all major plug-in formats on Mac OS X and Windows (XP and Vista), including VST, DXi, MAS, Audio Units and RTAS. It also runs as a stand-alone application, turning any laptop or desktop computer into the ultimate electric keyboard instrument.

Electric Keys will ship in February, 2008 for a list price of $295.

NAMM Show News 2007

This year MOTU was showing DP 5.1.1, Vista Drivers for their hardware, Updates to Symphonic Instrument and Ethno Instrument. Here's the rundown.

Windows Vista drivers now shipping

Windows Vista, Microsoft's highly anticipated next-generation operating system for the PC, is due to ship worldwide at the end of January 2007. In advance of Vista's formal release, MOTU is now shipping Vista-compatible drivers for all MOTU Firewire, PCI and USB hardware interface products. Are you running Windows Vista already? If so, download the Vista drivers at the link below that applies to you to run MOTU audio and MIDI hardware with your favorite Vista-compatible audio and MIDI software.

All current MOTU hardware products are supported, including FireWire and UltraFast USB2 audio/MIDI interfaces such as the UltraLite and 828mkII, PCI core systems such as the 2408mk3 and HD192, and all MOTU USB MIDI interfaces.

MOTU Vista hardware drivers are supplied in both native 32-bit and 64-bit versions, for optimum performance in either mode. Be sure to download and install the appropriate version for your Vista OS configuration.

The Vista-compatible drivers are also fully compatible with Windows XP (with or without Service Pack 2) and represent the latest MOTU hardware drivers currently available for Windows XP as well. So even if you are running Windows XP, you can take advantage of the latest optimizations in these drivers. For details, consult the Read Me documentation included as part of the install.

Symphonic Instrument

Now available for download here, Symphonic Instrument Version 1.1.1 is a free update to all registered users. Version 1.1.1 offers significant new features and enhancements available in both the new stand-alone version and the plug-in:

Stand-alone application - you can now operate Symphonic Instrument by itself, without a host program. Turn your Mac or PC into a dedicated orchestra ensemble, ready and waiting for the wave of your baton.
Disk streaming - sample data can now be streamed from disk, instead of always being loaded into RAM, significantly reducing load time and freeing up large amounts of RAM for other software.
64 parts - the Symphonic Instrument window now lets you load up to 64 different instruments simultaneously, offering you unprecedented flexibility and convenience in creating ensembles of any size.
64 MIDI channels - four separate banks of 16 MIDI channels each let you assign all 64 parts to their own MIDI channel.
Multiple outputs - each part (instrument) can be assigned to one of 17 separate output pairs for sub-mixing, separate effects processing and a variety of other applications.

Here's the demo of Symphonic & Entho Instruements! Purchase them here!

Ethno Instrument

The Ethno Instrument delivers expressive ethnic instrument sounds combined with authentic world music loops and phrases in one easy-to-use window. From solo instruments to full ensembles, the Ethno Instrument delivers all of the exotic textures you need to take your recordings to the four corners of the globe.

Start with a massive 4GB library of instrument samples from all over the world, recorded with pristine audio fidelity and careful attention to detail. Now add another 4GB of authentic loops and phrases, instantly tempo-locked to your host software time line. Slice loops with one click to trigger each beat from your keyboard, or drag & drop them into your host software tracks. Adjust your sounds quickly with the Ethno Instrument's intuitive controls.

Place your recordings in real acoustic spaces, from primordial caves to towering forests to remote canyons, all faithfully reproduced with stunning realism by the Ethno Instrument's built-in convolution reverb processor.

Supplied both as a stand-alone application and as a universally compatible plug-in (available in all major plug-in formats for Mac OS X and Windows XP), the Ethno Instrument can operate by itself to turn your computer into a world instrument powerhouse with disk streaming and multiple outputs. Or load it as a plug-in that saves all settings with your host software documents for instant recall.

Digital Performer 5.1.1

Here's some of new features in DP 5.1.1 To purchase it click here!

Digital Performer is an integrated MIDI and audio sequencer. For studio recording, film scoring, live performance, and remixing, Digital Performer is the choice of professionals worldwide.

Designed for professionals

Digital Performer has always been designed and built for professional use. For studio production, film scoring, live performance, remixing, and more, Digital Performer provides an easy to understand workflow, with all the features you need for full audio and MIDI production. You get unlimited tracks, unlimited undo, support for surround sound, 64 bit mastering tools, sample-accurate editing of audio and MIDI, automatic tempo calculation for film scoring, and much more.

Advanced features. Intuitive operation.

For beginners and experts alike, Digital Performer delivers advanced features in an intuitive, streamlined design. With support for built-in Macintosh audio and MIDI, you don't even need additional audio hardware. Whether you're completing a surround sound DVD or just want to write a song and burn a CD, Digital Performer gets you there with elegance and ease.

Complete Mac OS X support

No audio production software provides better support for Macintosh OS X Core Audio and Core MIDI services. Built from the ground up for Mac users, Digital Performer takes full advantage of sample-accurate MIDI Time Stamping, Core MIDI patch list support, Audio Unit plug-ins and virtual instruments, support for multiple Core Audio interface drivers and more.

Your music, your way

Digital Performer doesn't force you to rethink the way you want to make music. Digital Performer's flexible interface adapts to your work style. Loop-based music production? Linear sequencing and recording? Part and score notation-based composition? Digital Performer lets you work the way you think.

If you understand multitrack recording, you understand Digital Performer

Record-enable a track, check the input source and VU level, then press Record. Sound familiar? Then you should be using Digital Performer. It's that simple. Digital Performer's track layout, mixing board, and transport controls are all you need for the foundation of a powerful computer-based production system.

The 2408 is a new computer-based, digital audio hard disk recording system for Mac OS and Windows.

Inputs and outputs
The 2408 gives you 24 simultaneous inputs/outputs for under $1,000. But it gets even better. The 1U rack-mountable 2408 actually provides 7 banks of 8 channel I/O: 1 bank of analog, 3 banks of ADAT optical, 3 banks of Tascam TDIF, plus stereo S/PDIF. You can choose any three banks (24 channels) to be active at one time. This means you can hook up three ADATs, three DA-88s, and eight analog devices all at the same time and access any three banks - in any combination of formats - at any time. And you can freely switch formats at any time.

MOU has developed a custom VLSI chip, supercharged for massive I/O. And because our chip is dedicated entirely to I/O, it outperforms the DSPs in other systems, which are forced to juggle I/O bandwidth and effects processing.

Expansion
24 inputs and outputs is a whole lotta I/O for a core system. But now let's talk about expansion. You can connect up to three 2408 I/O units to your computer for a total of 72 input and output connections. You could connect 9 ADATs and 9 DA-88s to your computer, along with 24 channels of analog I/O, and simultaneously record and play as many tracks of audio as your computer allows.

ADAT/DA-88 transfers
Along with its computer I/O capabilities, the 2408 also does format conversion between ADAT and DA-88 (or compatibles). In fact, if you connect 3 ADATs and 3 DA-88s to a single 2408 I/O rack unit, you can transfer tracks between them up to 24 channels at a time, with completely flexible patching between them. Need to bounce ADAT track 5 to DA-88 track 21? No problem.

The 2408 makes the distinction between the two tape formats more transparent than ever; you can freely work with either format and then deliver tapes in the format your clients request.

High fidelity analog recording
The 2408 gives you the level of digital audio quality you need to cut compact disc/broadcast quality audio projects. In fact, we kept professional audio quality foremost in mind when we designed the 2408's 16-bit recording capabilities - especially with perhaps the most critical component in any system: analog-to-digital conversion. When an analog signal first enters the system, it must be converted to digital form. And the bit depth of the A/D converters is critical.

Theoretically, 16-bit audio supplies a dynamic range of 96 dB. But in reality, even 18-bit A/D converters don't always give you an actual 96 dB. That's why the 2408 has 20-bit A/D (and D/A) converters on its analog inputs and outputs. 20-bit converters have a theoretical dynamic range of 120 dB and, in practice, better than 96 dB. When you record in 16 bits via the analog inputs of your 2408 system, you can rest assured that you are taking advantage of the full dynamic range that 16-bit recording offers.

24-bit internal data bus
When the 2408 records analog input, it converts the signal into 20-bit audio. Internally, the 2408 transfers that digital audio stream into your computer using a 24-bit data bus, so it carries the full range of the 20-bit input signal. When the incoming audio is finally recorded as a 16-bit audio file on your computer hard disk, those extra 4 bits recorded on input ensure that you get a full 16-bits worth of dynamic range for expressive, clean sound.

24-bit recording
Because the 2408 has a 24-bit internal data bus, it is fully capable of doing true, 24-bit recording via its digital inputs. Here's an example: Apogee, one of the most respected names in A/D/A technology, recently introduced the AD-8000, an 8-channel 24-bit A/D converter with ADAT lightpipe. Simply put: it sounds fantastic. 24-bit recording can produce magnificent sound, especially for certain types of audio material.

If you connect the A/D-8000 via ADAT optical to the 2408, you'll get 24-bit A/D conversion, and the 2408 will then transfer the audio into your computer via its 24-bit audio bus. If you are using the included Macintosh workstation software (or any 24-bit capable host application that supports Sound Manager or a standard Windows Wave driver), you can then record the audio as 24-bit audio files on your computer hard drive. You can also record 24-bit audio via the 2408's stereo S/PDIF input.

Either way, if you're a stickler for 24-bit recording, the 2408 is ready.

S/PDIF input and output
The 2408 provides S/PDIF digital I/O so that you can exchange digital audio with a wide variety of other devices via this industry standard format. But the 2408 takes S/PDIF one step further than most other systems by providing an extra S/PDIF stereo output of the main mix. You can use this extra stereo digital output for whatever you want. For example, you can leave it connected to a DAT machine so that at any time you can record a stereo mix of the project you are working on - without having to swap cables with another S/PDIF device that may be connected.

Total Synchronization
When it comes to synchronization, the 2408 rivals even the most expensive workstations. The 2408 system provides sample-accurate synchronization with ADATs via an ADAT SYNC IN port directly on the system's PCI card. What exactly does this mean to you? If you transfer a track from your ADAT into your computer, it will be recorded at its original sample location with respect to the session's start time. If you then transfer it back into the ADAT, the same will be true: it will be recorded exactly at its original location. You'll never have to worry about tracks getting out of phase when you are transferring them back and forth between your ADATs and the computer.

If you use Tascam DA-88s, the 2408 provides the same high degree of synchronization via Digital Timepiece universal synchronizer, which provides sample-accurate DA-88 sync (in ABS time). You just connect the 2408 system to the Digital Timepiece Control Track sync connectors with a standard RS422 cable. With the Digital Timepiece driving both the 2408 and one or more DA-88s, you'll be able to make sample-accurate transfers between the computer and the DA-88s via their TDIF connectors.

Haven't you always wanted to be able to splice and dice your ADAT or DA-88 tracks graphically on your computer? The 2408 is as easy as it gets.

For other digital audio devices that don't support sample-accurate synchronization, the 2408 supplies standard word clock sync (in and out). This allows you use any digital audio device that also supports word clock. And together with a Digital Timepiece, the 2408 can synchronize with many varieties of devices, include 9-pin compatible video decks. As you can see, the 2408 is ready for even the most demanding synchronization situations.

Software
A very important component of the 2408 system is the audio software you will run on your computer. The software is the "front end" for the system; it takes care of recording, mixing, and real-time effects processing. The 2408 core system includes a complete waveform editing program for Power Macintosh, with all of the high-end features you'd expect in a full-featured audio workstation, including 24-bit recording and real-time 32-bit effects processing. In addition, the 2408 includes MacOS and Windows audio drivers for compatibility with a wide variety of third-party audio software. For details, see the software section.

Your 2408 system grows as your computer grows
One of the best things about the 2408 system is that it doesn't make you invest in a lot of expensive, computer-based hardware (such as extra DSP cards) that you'll have to scrap or trade-in every few years at enormous extra expense. The design philosophy behind the 2408 is to provide you with a system that will grow as your computer grows - a system that takes advantage of the technological advances we see every month from the personal computer industry. If you get a faster, cheaper hard drive for your computer, you'll get even more simultaneous tracks from your 2408 system. If you buy more RAM - or a CPU upgrade card - you'll get more real-time effects. If you get a faster computer, you'll get all of the above. When you buy a 2408 system, you're buying into the R&D future of the entire personal computer industry. And the future looks very, very bright. Macs and PCs have made quantum leaps in speed and performance in the last few years, with the promise of double, triple and quadruple performance even within the next year or so. And as computer technology grows, the 2408 is ready to grow with you.

Macintosh Workstation Software
The 2408 core system includes a full-featured audio workstation software package for MacOS. The 2408 software provides all of the high-end features you'd expect in a serious workstation application, like 24-bit recording and real-time, 32-bit effects processing. The software includes multi-track waveform editing, sample-accurate placement of audio, a complete virtual mixing environment with up to 64 stereo busses, automated mixing, graphic editing of mix automation, scrubbing, trimming, spotting, crossfades, support for third-party effects plug-ins (in the MOTU Audio System and Adobe Premier formats), unlimited digital track bouncing (including effects and automation), and much more. Right out of the box, the 2408 system gives you a complete Macintosh-based digital audio workstation (DAW).

Real-time effects
The 2408 Macintosh workstation software provides a host of real-time effects. While other systems are limited to 24-bit processing by their DSP hardware, all effects in the 2408 are processed with 32-bit, floating-point calculations in the host Macintosh.. And the best part is: the faster your Mac, the more simultaneous effects you can use. Todays affordable G3 Power Macs already supply 2-4 times the processing power of last years Macs, and rumor has it that Apple will be doubling the clock speeds of their G3 PowerPC line this year. With this kind of speed and affordability, the 2408s host-based effects will serve you well and grow with your computer.

2408 effects include up to 40 bands of parametric EQ per track, dynamics processing (expander, compressor, limiter, gate), eVerb plug-in (includes acoustic modeling), PreAmp-1 tube pre-amp simulator (simulates tube warmth and presence, as well as wild distortion effects), chorus, echo, flange, autopan, tremolo, and more.With the 2408, you get what amounts to an entire rack of outboard effects gear right on your Macintosh screen. And don't forget third party plug-ins from world class developers like DUY, with their MAX, Shape, Wide and Valve plugins.

Compatibility with Digital Performer
The 2408 is fully compatible with Digital Performer only.

Windows Software
The 2408 ships with a standard multi-channel Windows wave driver that allows you to record, edit, play, mix and effect your 2408 audio with your favorite Wave-compatible Windows audio software.

3rd-party Mac software compatibility
The 2408 ships with a standard Sound Manager driver that allows you to record, edit, play, mix and effect your 2408 audio with your favorite Sound Manager-compatible Macintosh audio software.

3rd-party plug-in compatibility
When it comes to third-party plug-in compatibility, the 2408 is one of the most flexible systems available because it does not have any proprietary, hardware-based DSP. Instead, the 2408 lets the audio software on the host computer do all of the real-time effects processing. So, you can use any plug-ins that are compatible with your favorite Windows Wave driver or MacOS Sound Manager compatible workstation software.