yo

i have a rme multiface since 2 or 3 years

i would like to buy a tascam fw 1884

anybody could tell me only about the sound which is the better ... RME or
TASCAM

the tascam would have the same quality than RME ?? better ??

i don't speak about the control and mixing aspect of the tascam ... only
about the souns quality


thanks

nonnobis

i have a rme multiface since 2 or 3 years

i would like to buy a tascam fw 1884

anybody could tell me only about the sound which is the better ... RME or
TASCAM

the tascam would have the same quality than RME ?? better ??

i don't speak about the control and mixing aspect of the tascam ... only
about the souns quality

Interfaces are more a matter of function than sound quality these days. The
difference in sound quality isn't much between different makes/models isn't
much, and they're all mediocre at best anyway. They all use op-amp preamps
like a typical cheap mixer, and the converters are all integrated chips,
which have improved significantly.

You're far better off investing in better mics and preamps if it's better
sound you're after. There's nothing wrong with the RME Multiface
converters.

In article "nonnobis" news.free.fr writes:

i have a rme multiface since 2 or 3 years
i would like to buy a tascam fw 1884

anybody could tell me only about the sound which is the better ... RME or
TASCAM

Since these are entirely different devices I guess what you want to
know is how the sound of your recordings will change when going
through the different set of converters.

I can't give you a direct comparison, and test results are relatively
meaningless when you get into the little details, but I can suggest
that there will be a difference in the sound, but not necessarily (but
possibly, depending on many things) an improvement. In general,
converter chips (and at this price point, nobody builds converters
from discrete parts) at a given price point improve with every
generation, so the actual A/D and D/A conversion will probably be more
accurate with the new TASCAM than with your old RME.

The rub is that the converter chip isn't all there is to an audio
interface, and there are lots of ways to not get all the performance a
chip is capable of when cutting corners, or trying to make an 8
channel interface with hardware controls for the same price as a 4
channel interface with just a breakout cable. Then there are
differences in how the drivers are written which, while rarely
affecting things like frequency response and distortion, affect
latency and stability. Depending on how you work, this could be a real
pain in the butt tradeoff for more channels or a control surface.

First, you should decide if you want the TASCAM for what it is. Once
you've made that decision, then give it a try before you get rid of
your old RME interface. Play back some of your existing recordings
through each device and listen for differences. Then make some test
recordings and evaluate them. Exercise your right to return it if you
don't like it.



--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

On Sat, 30 Oct 2004 14:50:24 -0500, Sugarite wrote
(in article ):

i have a rme multiface since 2 or 3 years

i would like to buy a tascam fw 1884

anybody could tell me only about the sound which is the better ... RME or
TASCAM

the tascam would have the same quality than RME ?? better ??

i don't speak about the control and mixing aspect of the tascam ... only
about the souns quality

Interfaces are more a matter of function than sound quality these days. The
difference in sound quality isn't much between different makes/models isn't
much, and they're all mediocre at best anyway. They all use op-amp preamps
like a typical cheap mixer, and the converters are all integrated chips,
which have improved significantly.

You're far better off investing in better mics and preamps if it's better
sound you're after. There's nothing wrong with the RME Multiface
converters.

I replaced (or circumvented) the A/D converters in my Digi 001 with an RME
ADI-8 DS. It and the GML mic pres made a noticeable difference.

The Digi 002 sounds pretty darn good by itself.

Regards,

Ty Ford





-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

Sugarite
Ty Ford
Mike Rivers


thanks ... many thanks for your info

i'am an amatory ... all that is only for my pleasure

but if i can i'll buy the tascam before sailing my old RME


best regards from Normandy

nonnobis

Ty,

I read your article in Pro Audio Review and visited the RME booth at
AES three times. Your review was very favorable and hopefully
objective about the ADI-8 DS, especially the Martin guitar
comparisons. The RME rep said the converters in the ADI-8 are better
than the ADI-2, which are better than those in the Octamic D. So your
article, the specs and the booth had me sold on the ADI-8 DS. Until I
visited the Lynx Studio booth.

The Lynx Aurora 8 is a bit more expensive than the ADI-8 DS, and after
I add a Firewire LSlot expansion card (because I use a Powerbook),
it'll probably be significantly more. However, when I mentioned to
that rep I was considering RME, but looked at Lucid, Apogee and Prism,
he said RME is a lower-quality budget converter. I have no way to
confirm this, but did you visit the Lynx booth if you were at AES? Do
you know anything about Lynx? At half the price of a Rosetta, I wonder
if Lynx is in the same class as Apogee. Being that journalists usually
get the scoop on new products, do you have any insider intel on the
Aurora?

Lastly, a friend of mine said a high-end studio uses a TC Finalizer
24/96 to get two channels of pristine conversion (by turning off all
the effects). Do you know if the Finalizer is really that great? Used
ones are relatively inexpensive. BTW, I have two Grace Design 101
preamps that are hungry for really great converters. Thanks for any
info.

ef


Ty Ford wrote in message news:
I replaced (or circumvented) the A/D converters in my Digi 001 with an RME
ADI-8 DS. It and the GML mic pres made a noticeable difference.

The Digi 002 sounds pretty darn good by itself.

Regards,

Ty Ford





-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

In article writes:

The Lynx Aurora 8 is a bit more expensive than the ADI-8 DS

considering RME, but looked at Lucid, Apogee and Prism,
he said RME is a lower-quality budget converter. I have no way to
confirm this, but did you visit the Lynx booth if you were at AES? Do
you know anything about Lynx? At half the price of a Rosetta, I wonder
if Lynx is in the same class as Apogee.

Lynx converters sound excellent. Apogee converters sound excellent. I
would say that they're in the same class, but you have to realize that
I'm considering that there are about four classes, and don't consider
each converter in the class to be a sub-class.

There's (in order of "quality" whatever that means):
A generic sound card that comes with the computer
A good quality project studio audio interface like those from
M-Audio, MOTU, RME (covers a pretty wide range) or Echo
A top quality sound card like the Lynx
A top quality external A/D and D/A converter coupled with a sound
card with digital I/O

My advice is not to spend top dollar on converters, but stay a notch
down and make sure that the rest of your studio gear is as good as
your computer interface.

Lastly, a friend of mine said a high-end studio uses a TC Finalizer
24/96 to get two channels of pristine conversion (by turning off all
the effects). Do you know if the Finalizer is really that great?

By today's standards, no. But it's pretty good. If you can get a used
one cheap enough, it's a reasonable way to get ahead.

ones are relatively inexpensive. BTW, I have two Grace Design 101
preamps that are hungry for really great converters. Thanks for any
info.

Get a Lynx L22 and quick worrying.



--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

On Sun, 31 Oct 2004 22:47:20 -0500, bayydogg wrote
(in article ) :

Ty,

I read your article in Pro Audio Review and visited the RME booth at
AES three times. Your review was very favorable and hopefully
objective about the ADI-8 DS, especially the Martin guitar
comparisons. The RME rep said the converters in the ADI-8 are better
than the ADI-2, which are better than those in the Octamic D. So your
article, the specs and the booth had me sold on the ADI-8 DS. Until I
visited the Lynx Studio booth.

The Lynx Aurora 8 is a bit more expensive than the ADI-8 DS, and after
I add a Firewire LSlot expansion card (because I use a Powerbook),
it'll probably be significantly more. However, when I mentioned to
that rep I was considering RME, but looked at Lucid, Apogee and Prism,
he said RME is a lower-quality budget converter. I have no way to
confirm this, but did you visit the Lynx booth if you were at AES? Do
you know anything about Lynx? At half the price of a Rosetta, I wonder
if Lynx is in the same class as Apogee. Being that journalists usually
get the scoop on new products, do you have any insider intel on the
Aurora?

Lastly, a friend of mine said a high-end studio uses a TC Finalizer
24/96 to get two channels of pristine conversion (by turning off all
the effects). Do you know if the Finalizer is really that great? Used
ones are relatively inexpensive. BTW, I have two Grace Design 101
preamps that are hungry for really great converters. Thanks for any
info.

ef

ef,

I would expect anyone in a competitive booth to dis the competition. I will
dis them by saying that most of the time, the guy at the booth for company A
knows squat about company B's products. I've tested this time and time again.


I used to challenge them when they were wrong, but stopped doing that years
ago and just let them continue. I learned a lot more by letting them go on
and unknowingly provide proof about what they didn't know.

They think they "sold" me. I know better.

caveat emptor!

Regards,

Ty Ford

PS: Even within the RME ADI line, there are different A/D converter chips
used. I chose the quieter ones that "were a bit more expensive." REM told mer
they cost a bit more than their earlier models. They asked me to compare and
sent me both units. I didn't have time to do that comparison.


-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

On Mon, 1 Nov 2004 09:50:32 -0500, Mike Rivers wrote
(in article znr1099287717k@trad):


In article
writes:

The Lynx Aurora 8 is a bit more expensive than the ADI-8 DS

considering RME, but looked at Lucid, Apogee and Prism,
he said RME is a lower-quality budget converter. I have no way to
confirm this, but did you visit the Lynx booth if you were at AES? Do
you know anything about Lynx? At half the price of a Rosetta, I wonder
if Lynx is in the same class as Apogee.

Lynx converters sound excellent. Apogee converters sound excellent. I
would say that they're in the same class, but you have to realize that
I'm considering that there are about four classes, and don't consider
each converter in the class to be a sub-class.

There's (in order of "quality" whatever that means):
A generic sound card that comes with the computer
A good quality project studio audio interface like those from
M-Audio, MOTU, RME (covers a pretty wide range) or Echo
A top quality sound card like the Lynx
A top quality external A/D and D/A converter coupled with a sound
card with digital I/O


You've specced all of these?

Regards,

Ty




-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

In article writes:

I would expect anyone in a competitive booth to dis the competition. I will
dis them by saying that most of the time, the guy at the booth for company A
knows squat about company B's products. I've tested this time and time again.

I rarely find that a company will rarely dis a competitor's product at
a trade show. Individuals might, but generally this is against company
policy. They may explain why theirs is better, but it's rare for them
to tell a potential customer that any product is crap.



--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

yeah, you're right. if the adi-8 ds has already been proven, what's a
newbie to say their product is better. i'll wait for indepth reviews.
although the lynx has great features at a bargain rate, so do cheap
presonus and behringer gear. great features, low prices, ****ty sound.

ef,

I would expect anyone in a competitive booth to dis the competition. I will
dis them by saying that most of the time, the guy at the booth for company A
knows squat about company B's products. I've tested this time and time again.


I used to challenge them when they were wrong, but stopped doing that years
ago and just let them continue. I learned a lot more by letting them go on
and unknowingly provide proof about what they didn't know.

They think they "sold" me. I know better.

caveat emptor!

Regards,

Ty Ford

PS: Even within the RME ADI line, there are different A/D converter chips
used. I chose the quieter ones that "were a bit more expensive." REM told mer
they cost a bit more than their earlier models. They asked me to compare and
sent me both units. I didn't have time to do that comparison.


-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

On Mon, 1 Nov 2004 20:44:01 -0500, Mike Rivers wrote
(in article znr1099358719k@trad):


In article writes:

I would expect anyone in a competitive booth to dis the competition. I will
dis them by saying that most of the time, the guy at the booth for company
A
knows squat about company B's products. I've tested this time and time
again.

I rarely find that a company will rarely dis a competitor's product at
a trade show. Individuals might, but generally this is against company
policy. They may explain why theirs is better, but it's rare for them
to tell a potential customer that any product is crap.


Apparently I have some unique thing that makes some folks drop their
pretenses and tell me what they really feel. Also, not challenging them with
what I may know creates a vacuum that they seem compelled to fill. They keep
talking...stuff comes out. I keep smiling and listening....and learning.

Regards,

Ty Ford





-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

In article writes:

There's (in order of "quality" whatever that means):
A generic sound card that comes with the computer
A good quality project studio audio interface like those from
M-Audio, MOTU, RME (covers a pretty wide range) or Echo
A top quality sound card like the Lynx
A top quality external A/D and D/A converter coupled with a sound
card with digital I/O


You've specced all of these?

No, but I declared them. Isn't that just as good?


--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In article writes:

Apparently I have some unique thing that makes some folks drop their
pretenses and tell me what they really feel. Also, not challenging them with
what I may know creates a vacuum that they seem compelled to fill. They keep
talking...stuff comes out. I keep smiling and listening....and learning.

This is what I meant by explaining why theirs is better than the other
guy's, and yeah, you talk to the right person and he'll tell you what
he knows. But if you talk to the wrong person, he'll tell you what he
thinks he heard without understanding what's behind it.




--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

"nonnobis" news.free.fr wrote in message ...
Sugarite
Ty Ford
Mike Rivers


thanks ... many thanks for your info

i'am an amatory ... all that is only for my pleasure

but if i can i'll buy the tascam before sailing my old RME


best regards from Normandy

nonnobis

I have personally found working with Tascam boards to be very tedious.
The gain stucture used on the pres is such, that for most regular
tasks (unless ure micing a kik drum) ull need to turn the trim pot all
the way up. Not that this introduces any audible noise, but the gain
towards the last 3% turn is very sudden, and taming it is a headache.
U either clip the pres.. or settle with a signal too soft (a little
training helps)

And i tought that this was an issue with only the DM24 and some of
their other smaller mixers. But recently read a post (think on KVR)
bout someone having a similar issue with the portable USB interfaces
also.

I would suspect that they use the same gain structure on the 1884
also. I find the other pres.. such as the Behringers UB series console
to be lot better.


Sidhu

Note : Tascam does offer a Trim pot update for the DM24 at a price.
The updated pots are more 'logrithmic'.

On Tue, 2 Nov 2004 09:51:23 -0500, Mike Rivers wrote
(in article znr1099360980k@trad):


In article writes:

There's (in order of "quality" whatever that means):
A generic sound card that comes with the computer
A good quality project studio audio interface like those from
M-Audio, MOTU, RME (covers a pretty wide range) or Echo
A top quality sound card like the Lynx
A top quality external A/D and D/A converter coupled with a sound
card with digital I/O


You've specced all of these?

No, but I declared them. Isn't that just as good?


--
I'm really Mike Rivers - )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

Only at a customs station.

Ty



-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com