sound card which one is the best lets cut through the hype

  • Thread starter Thread starter darrin_h2000
  • Start date Start date

whats the best soundcard for a moderate price

  • whats the best 5 soundcards and why

    Votes: 8 57.1%

  • what are the 5 soundcards to aviod and why

    Votes: 1 7.1%

  • under 500

    Votes: 1 7.1%

  • over 500

    Votes: 4 28.6%
  • Total voters
    14
  • Poll closed .
First of all, I don't know how you could have been a "former" Nuendo user since it's still relatively new to the market. Secondly,
Emu didn't put out Paris, Ensoniq did until EMU merged with them. I love EMU and Ensoniq products...that's not my issue. Lastly, for someone working in a proffesional enviroment, why must you feel it necessary to articulate your OPINIONS with rude responses. I'm not saying Paris is a bad set-up. You are correct, I have not used the latest 3.0 upgrade and I'm sure it rocks; however, everything the upgrade encompasses should have been included at it's inception, don't you think? While Ensoniq's developers were scrambling to provide midi implementation and Wave editing, scores of other software developers had already leaped milestones in that direction. ProTools is not better because it's 3x more expensive. I'm not a fool...it's a rediculous amount of money for me in my humble recording enviroment. All I was saying was that I can get a comparible recording out of my Gina 24. Initially, someone was asking for advice about a sound card for around $500. You obviously own Paris so as soon as you saw someone discribing an even lesser expensive recording card being able to do what Paris does you bashed it. As far as hype is concerned, you are deffinitley not an objective individual. Ok...PARIS IS GOD TO THE RECORDING INDUSTRY. I think not. I live in Chicago, and many recording studios here still use Pro-Tools. For now, it's still the industry standard. Tomorrow, perhaps it will be Paris. BUT...please, just because someone else enjoys another product other than Paris...so be it...don't knock it! Cool beans?

Later
 
I didnt knock your Gina bro they work and sound great just comparing one to PARIS blew me away ;-) And your right about studios that use PT because they were one of the first to do it, I was arguing your statement that PARIS VS. PT is PT hands down which I think is totally wrong as did even the PT people on the Digi user group.. And then pointing out some of the things about PARIS you were misinformed about and that you might not have known.. Again I never bashed your card just your statement that your Gina or Darla whatever sounded just as good if not better, which is funny ;-)

Anyway no biggie if you get a chance though go to one of those Demos on the tour you really should check it out...

Later..
 
wormhole did not say it but

Ok I am saying it.

PARIS IS A BAD SETUP

for a homerecordist. Period.

dollar for dollar, a hand built system will knock paris to the ground.

Also, nashstudio, I hate to burst your bubble, but that song that was number one, that was supposedly done on paris, was NOT tracked in paris.

It was tracked in analog and mixed and editted in PARIS.

But I'll like to hear your work and hear how much better it is than a simple MOTU 2408 or even a roland vs2480

ANd if it is better, its cos you have a better room, or better outboard equipment. Nuff said.

are you up to the task?
 
I think WWILLIS said it best...

It would be very diffulcult for people to say which is the best 5 soundcards, because most people have not used more than 5 soundcards.

Plus, because of all the various setups people have, it is hard to give it an uniform poll.

Plus, it is hard for some people to give an objective and unbiased opinion on equipment (as viewed earlier). :)

I use 3 soundcards...

Tascam 822PCI (8 TDIF INS/OUTS, 2 SPDIF INS/OUTS, 2MIDI INS/OUTS),

Delta 66 (4 ANALOGUE INS/OUTS, 1 SPDIF IN/OUT),

and a

SoundBlaster (1 ANALOGUE IN/OUT).

I have had a good time using all three, plus they work well together.

peace...

spin

p.s. What is up with the poll? It makes no sense at all. :D
 
Hey Jag I'll tell you what, when I get done mixing this cut that I wrote and just finished the demo in my 2 room studio i'll gladly put it up against anything you got to throw out bro It won't be my outboard gear that makes anything sound better it will be my ear and my shitty PARIS system. I do have nice mics and pres but other than that every effect and compressor is PARIS. I can't believe you think that PARIS blows thats funny as hell man.. Oh and about the "Amazed" song well smart a$s some of it was tracked in PARIS including overdubs and the vocals were done on tape which I forgot to mention man really I am sick of trying to defend PARIS so from this point on i'll just quit, the trackrecord and sound of it speaks for itself. If you are comparing your MOTU and saying it can blow PARIS away I don't even need to comment anymore because you are doing a fine job of making yourself look dumb all alone... I thought you were the one that said you get what you pay for, lets see MOTU what like 900 bucks? PARIS Basic system 3,995 so figure I got like 7 in mine. thats mostly just for big projects, on the demo I am finishing I used like 20 Tracks and let me tweek it and we can have a head to head post....
 
E-MU announced its new PARIS Pro Digital Audio Workstation at the NAMM Convention in Anehiem. PARIS Pro is E-MU's successor to ENSONIQ's critically acclaimed PARIS professional line of DSP-based digital audio workstations, and features both new hardware and software. The base PARIS Pro System offers users a complete hardware-based Digital Audio Workstation solution that includes a 16 channel control surface, Modular Expansion Chassis, PCI card and true cross-platform Mac/PC software. New PARIS Version 3.0 Software represents a major upgrade to an already proven platform, and includes features like OMF File import/export, integrated MIDI, and dedicated waveform editor.

Expandability

PARIS Pro is a truly expandable system in both track count and I/O. PARIS Pro is expandable up to 256 real-time tracks, offering more hardware tracks (non-CPU dependent) than any other DAW on the planet. Users can easily add more tracks to the base 16 track PARIS Pro System by installing additional PCI cards at a fraction of the cost required to expand other Pro Audio DAW's. In addition to the PCI card and Mac/PC software, each PARIS Pro System ships with a MEC (Modular Expansion Chassis) that can be customized for almost any application using the many 24-bit I/O and sync modules currently available, and a C-16 Control Surface, that provides the user with faders for every channel, in addition to dedicated EQ, transport, edit and automation controls.

Enhanced Integration and Compatability

PARIS Pro now supports import and export of OMF files (Avid's Open Media Framework), allowing PARIS users to work seamlessly along side other Pro Audio DAW's. "PARIS Pro has earned the reputation as an incredibly warm, analog-sounding professional audio workstation. With the new 3.0 features PARIS Pro complements other existing platforms with unrivaled sound quality, project compatability, ease-of use, and true penalty free expansion. Instead of engineers being faced with an either or decision when it comes to a Pro Audio Workstation, they can get the best of both possible worlds," comments Max Mobley, Product Manager for PARIS. PARIS Pro 3.0 also features new MIDI integration and support for third party motorized control surfaces, giving the system greater connectivity in the studio. And the new dedicated waveform editor provides powerful editing tools that allow users to manipulate audio at the sample level without leaving the PARIS application. PARIS Pro also supports the vast assortment of VST™ and DirectX plug-ins in addition to its host of studio grade hardware-based effects.

Advanced, Intuitive and highly Professional

Intelligent Devices, Inc. (ID), the creators of the PARIS software, have created a digital audio workstation environment that is powerful and advanced yet incredibly easy to use. "PARIS Pro is a sophisticated DAW that allows maximum creativity and productivity by using an intuitive interface to control leading edge technology," comments Stephen St.Croix, co-founder of Intelligent Devices. "We are excited to be working closely with E-MU to complement and maximize the inherent power of the PARIS hardware, and to work on developing the PARIS platform together into the future," he added.

E-MU took on full ownership of PARIS in April of 2000, when the first PARIS systems were assembled at E-MU's Headquarters in Scotts Valley, California. E-MU has incorporated PARIS into its line of products, and is committing significant engineering, marketing and manufacturing resources to its development. "E-MU recognizes the power and sophistication of the PARIS product line and we are confident that it will achieve its appropriate place in the pro audio market," says Scott Emmermen, Vice President of sales and marketing for the Americas. "PARIS is known for its warm, analog-like sound, and PARIS Pro has matured into the DAW of choice for many engineers and producers in the professional market. There is currently an enormous selection of DAWs available for the hobbyist musician, but there are relatively few companies that cater to the pro user. There is simply nothing out there that sounds as good or even comes close to the value of what PARIS Pro delivers... Scott Wills Mix Magazine

Show me one bad review for PARIS and i'll shut up... And please notice the word pro being used in this article quite a few times...
 
Okay, you like Paris, stop shoving down peoples throats.
 
Ok...nuff said

Thanks...I appreciate that. No problemo. Take care!
 
Showdown in Dodge City. Any $$$ on the line? If you're going to have a real battle, let the users vote.....(of course may not work as there ae two many variables beyond the actual recording - quality of song, production, arrangement, .....).
 
thats what I'm talknig about

nashstudio,

If I meet you on the street or in your studio I WILL respect you as a musician, as a mixer and as someone who is concerned about quality and helping others improve quality.

Reading your post however makes me want to giggle, cos you should not take any attack against your equipment personal.

You said that I said you get what you pay for right? right. OK this is how you get what you pay for.

I have $3995 to spend.
I either buy a PARIS system for $3995

or

1 buy a delta 1010 $550

2 a lucid a/d converter that kills the paris converters
$600

3buy the new rode ntk mic that has been compared to a u87 $500

4.Get a nice pair of event 20/20 monitors $300

5.A nice hafler amp $400

6. Get a nice fatar contoller keyboard. 88 keys weighted.
$500

7. SOund treat your tracking room and your control room, so that everything is dead and you have no echoes either at the tracking stage or the mixing stage.
$700

8. A nice little focusrite preamp $500

9. Of course the delta 1010 comes with Logic, Gigasampler, Acid, Siren, Unity piano, MVP ripper, etc etc

NOw I ask everybody, including nashstudio: who gets more for the $4000 investment?.

Who has more to show for it?

Whose sound will be better?

Whose mix will be better?
I say its the guy who built his system

As I said, you get what you pay for, and if you build your system, you get more for your money than if you just drop for PARIS.

What I think you don't understand ,nashstudio, is that at the $4000 level(same quality of sound), I am almost finished putting everything together, while someone who drops for paris is just starting.

'nuff said.

Hey, I would really love to hear the song you that you do. I am sure so will everybody, so that they can hear the magic of paris, and how it compares to Protools FREE or Logic delta
 
Very well put, CyanJaguar, your point was well made.

And, I agree with psmith66. Nash should put his/her money/music where his/her mouth is...

:D...

spin
 
Exactly

Wow...what a show down....As for myself, I agree with all that piece their system together. it's no different than buying a home stereo. For true audio enthusiasts, you wont simply buy the all in one stereo unit because you know that manufacturers specialize in one component or another. I treat my recording environment the same. Now I don't have the luxury of purchasing Apogee, or ProTools 24 Mix but what I have gives my the versatility to do what ever I want without forking out tonnes of cash on any one specific product. I have a friend that uses the Delta 1010 and I think it sounds great. I considered the Delta but I knew very little of the product at the time I purchased my Gina 24. I also work with someone in a studio that uses Paris. That sounds great too. Hell, as I stated earlier, I've worked on soo many that I sometimes cannot differentiate the best from the best. I don't need the most feature filled audio card such as Creamware's Pulsar. I just need great sound...I'll do the rest. I remember when I was probably 10 or twelve years old, my father took me to a reputable Stereo shop to buy me a walkman. This was 1980 mind you (Nakamichi era)...before Best Buy. I looked through the display cabinet and I immediately knew that I wanted the titanium ultra slim sony cassete player. It was very cool...had all the features, Dolby NR, etc. It looked hi-tech, ya know. My father, a serious audio enthusiast at the time explained to me that I had an option. I could get the ultra slim Sony or I could get a less expensive player and better headphones. He demonstrated the difference to me and in the end, I chose the better headphones...I've applied that experience many times in my life with all my electronics and recording gear. Sure, I'd like to record at Real World studios and get off on the stream running under the glass floor and the Neve console in mid horizon of the forested skyline...but I'm also very happy here with my TM-D1000, Gina 24, G4, Event 20/20p's samplers, effects, Keys, Cubase 5, Digital Performer, Rode Nt1, etc...you get my point...there's no reason to go through the list. The point is I can do more with what I have than what i could do with one unit such as Paris. To all those that worked hard to get what they have as I did...GOOD LUCK!!!!!!
 
As far as a simple "system" card I agree the Ensoniq Audio PCI is a no frills good headroom and cheap - line in - 2 channel (stereo) recording card. I have one in my "Office/Internet" computerand no longer use it to record. I used it only after my Creative SBLive gave me so many compatability problems and hogged so much of my computers resourses that I had no real choice but to remove it. It's now in my daughters computer for her games ... right where it belongs. (I do know some people using this card successfully for digital audio solutions, but I think it's really a consumer game card and doesn't belong in a studio as a recording card). BUT you do need a sinple system card in your computer....... for $69 I bought a Hoontech Digital XG /w daughter card (basically a Yamaha version of the SBLive) that has aes/ebu I/O, S/PDIF I/O, Optical I/O, line in, as well as 4ch output (line out 1 and line out 2), Sondius XG sounds (software synth) DLS support (no soundfont), and NO compatability problems and only uses one IRQ.
From Tracer Technologies.
For my main recording I like the (well it's what I bought)
Mixtreme by Soundscape. I needed at the time, a card that had it's own DSP 'cause I couldn't afford (at the time) a super fast computer. From my rersearch I had narrowed it down from DSP Factory (too expensive after getting software too) and RME (looked good - low latency - but too ADAT (lightpipe) dependent). I also bought the Tascam TM-D1000 as it was just a little more expensive than the little breakout box from Sounscape. It seemed like the best inexpensive combo for a TDIF solution. The Mixtreme is high quality sound. It's drawback is that it's not MIDI friendly. I would've gone with Layla but you'd still need a mixer with it (gotta put those 10 outs somewhere) so I would've spent at least $200 more. These are my slower PC (400Mhs and below) recommendations.
For Mac and FAST PC's I'd have to defer to someone else.
 
Well, I use 2 cards with Cubase VST32: an RME Hammerfall for digital I/O, and an M-Audio Audiophile 2496 for MIDI, and for its onboard AD/DA converters for monitoring and for the odd overdub only.

My main AD/DA converters are located in my Fostex D1624, so I fly the data over via lightpipe down to the Hammerfall and back. I can then use its separate S/PDIF outputs to output a stereo monitor pair, and I use the Audiophile with its converters set up to go S/PDIF->analog, and analog->S/PDIF, just for monitoring. Cubase never talks to the Audiophile hardware (except for MIDI)...

I haven't tracked that much stuff through the Audiophile's AD to date: most of it goes through the Fostex. The Audiophile is not as quiet as the Fostex, but the differences are pretty minor. It is certainly quite usable for monitoring during overdubs and editing.

The RME products are very solid and very well supported, and I've been extremely satisfied with them for my particular arrangement of junk. If you believe that your rig will one day extend to flying more than about 8 tracks around at once, they very definitely merit consideration. If I had it to do again, I'd go with some configuration of the Hammerfall DSP hardware, I think. Matter of fact, I may just go that way anyway, so that I can record 16 tracks at once instead of just the 8 allowed by the Fostex... I suspect that there will be a lightpipe crosspoint switch in my future.
 
C'mon, aKa, what kind of question is that? If it isn't spelled out at Egghead, go to the computer manufacturer's website and look there. That's the only way someone here could answer your question anyway unless they just happened to have the same box as you're pointing too (and you know 90% of the folks here probably built their own boxes :) )
 
Aka,

the soundcard mentioned on the page is integrated. That means it is on the motherboard.

Basically, it does not get worse than that. Don't get me wrong. This soundcard is cool for games and lisetneing to mp3s, but for recording you will want better quality.
 
i screwed up on the poll

the intention was to get a list of all the sound cards out there so i could pick one and when given 4 choices i thought a sound card could be rec omended in each catagory but i guess that didnt go with the format but what i could do is tally up the opinins here after this thread dies down and post it. thanks for the responses and sorry if this confusd any of you.
im a veg.
darrin_h2000
 
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