New music up on microtonal.org...

Listers and listees,

A little project, in a way of investigation to shed light for Alison (not to mention myself).

The Task:

Use CronoX (a VST/DXi softsynth that can use .wav files for a sound source) in a semi-sampler way, this time with simple percussion sounds.

Implementation:

1. I went out to the garage, and using my MiniDisc and a pair of binaural mics, recorded two single notes on my marimba (C2 and C3), two notes on my orchestral chimes (C3 and C4), and a bass tone and a slap tone on a djembe.

2. I brought these into the house, sucked them into a wave editor (Sound Forge), separated the sounds into files (with only noise reduction and normalization), and saved them to disk.

3. I brought up CronoX inside a sequencer/audio workstation (Sonar 2.2), and then created 5 instances of the synth. With each instance I built an instrument: bass marimba, mid marimba, chimes, hi and lo drums. I then added two more (ok, I'm cheating), one from a previous percussion instrument I created (a morphed tambourine/gong) and the other a gift patch from a friend (tuned and floating gongs).

4. Everything seemed ready, so I started laying down tracks, seeing what I could come up with. Eh, it isn't great stuff, but I tried to focus for a few bars on the marimbas (which are tuned in 19tet). It is what it is, musically, but I did manage to work with 7 tracks of the synth, all with different patches, and only had a small problem with latency issues during recording (things not lining up despite my fingers being sure they were hammering in time). I'm not convinced it is the synth and not something else, and I'll investigate that later.

5. I did a little post-tweaking, moving a few notes in time, drawing a few volume envelopes, things like that. When I figured enough was enough, I exported the whole thing to an audio file (which means that the mix gets done as data, not real-time, so there aren't any latency/timing issues, it just calculates everything [I guess]).

6. Converted file to .mp3, which (alas) lost some of the twinkle, and uploaded to microtonal.org.

Total time for project: 2 hours.

So there you have it: "The Avon Lady Wears Lattice-Weave Hose", rendered only with the fine little softsynth CronoX from LinPlug, with custom sample/patches from yours truly, composed/improvised in 19- and 31-tet. And with no socially redeeming value.

Questions welcomed, best I can answer them I will.

I know, I know: Jon used an ET? *Two* of them?? Kinda sick, huh? :)

Cheers,
Jon

>
> 4. Everything seemed ready, so I started laying down tracks, seeing what I
> could come up with. Eh, it isn't great stuff, but I tried to focus for a
> few bars on the marimbas (which are tuned in 19tet). It is what it is,
> musically, but I did manage to work with 7 tracks of the synth, all with
> different patches, and only had a small problem with latency issues during
> recording (things not lining up despite my fingers being sure they were
> hammering in time). I'm not convinced it is the synth and not something
> else, and I'll investigate that later.
>

How did you do 7 tracks at once with CronoX? -- you must have done them in layers
right? I can only record one track at a time to my knowledge. Are you using another
application to do the overlays? I'd like to do something like this so I can have
multitrimbral recordings with a whole 'orchestra' of sounds, but I was under the
impression that I'd need Cubase or the like to do it.

- Justin

{you wrote...}
> > 4. Everything seemed ready, so I started laying down tracks...
>
>How did you do 7 tracks at once with CronoX? -- you must have done them in >layers
>right?

You missed the part in the post:
"3. I brought up CronoX inside a sequencer/audio workstation (Sonar 2.2)"

>I'd like to do something like this so I can have multitrimbral recordings >with a whole 'orchestra' of sounds, but I was under the impression that >I'd need Cubase or the like to do it.

OK, this time *you're* going to have to either search for a free sequencer/VST host, or go out and buy one! There are certainly a couple of ways to automate more than one instance of a synth (Rick uses a notation program to drive a host that accepts input on multiple midi channels [did I get that right, Rick?]), while I simply use a combination midi sequencer / digital audio recorder (Sonar). That particular choice happens to be because I've used Cakewalk products for a long time and it feels somewhat comfortable; there are a number of other good programs out there, something more appropriate to the Mac OS X I am sure.

Cheers,
Jon

I think Cubase is the best Mac option from what I've heard-- it's VERY expensive
though. This is not a pressing issue in absolute need of resolution however. -Justin

> OK, this time *you're* going to have to either search for a free
> sequencer/VST host, or go out and buy one! There are certainly a couple of
> ways to automate more than one instance of a synth (Rick uses a notation
> program to drive a host that accepts input on multiple midi channels [did I
> get that right, Rick?]), while I simply use a combination midi sequencer /
> digital audio recorder (Sonar). That particular choice happens to be
> because I've used Cakewalk products for a long time and it feels somewhat
> comfortable; there are a number of other good programs out there, something
> more appropriate to the Mac OS X I am sure.

on 11/9/03 7:29, Jonathan M. Szanto at JSZANTO@... wrote:

Listers and listees,

A little project, in a way of investigation to shed light for Alison (not
to mention myself).

The Task:

Use CronoX (a VST/DXi softsynth that can use .wav files for a sound source)
in a semi-sampler way, this time with simple percussion sounds.

Hey Jazzy Jon

that's excellent. A bit of EQ to lift the muffle and that would do me just
fine.
Once you have the hits "sampled" they're in to stay I suppose and than you
can get down to work.
Thanks for taking time to carry out this demo/experiment.

Sincerely
a.m.

[Non-text portions of this message have been removed]

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"

> So there you have it: "The Avon Lady Wears Lattice-Weave Hose",
rendered
> only with the fine little softsynth CronoX from LinPlug, with
custom
> sample/patches from yours truly, composed/improvised in 19- and 31-
tet. And
> with no socially redeeming value.

i love it! rock on jon!!

> Questions welcomed, best I can answer them I will.
> I know, I know: Jon used an ET? *Two* of them?? Kinda sick, huh? :)

johnny reinhard played me a tape with jon catler playing 31-equal and
neil haverstick playing 19-equal at the same time -- i think it was a
composition by catler. he said it was perhaps the AFMM's best
demonstration of how microtonality could be beautiful. i think you've
done just as well here (though i'd like to hear a longer excerpt),
beautiful and sexy too!

Justin Weaver wrote:

>I think Cubase is the best Mac option from what I've heard-- it's VERY expensive >though. This is not a pressing issue in absolute need of resolution however. -Justin
> >
What's "Cubase"? The prices are 100 Euros for Cubasis VST (48 audio channels on either Windows or Macintosh), 400 Euros for Cubase SL and 800 Euros for Cubase SX. Quite a difference!

Ah, only SX gets you 32 VST instrument slots (whatever that means).

Graham

Cubase SX is indeed the ultimate of all ultimates for multitrack recording and VST
instrument simultaneity. Although, I should add that there are few people with the
CPU horsepower on this blue earth who could run 32 VST instruments simultaneously
in polyphony without overload-- time to buy a Mac G5! -Justin

--- In MakeMicroMusic@yahoogroups.com, Graham Breed <graham@m...> wrote:
> Justin Weaver wrote:
>
> >I think Cubase is the best Mac option from what I've heard-- it's VERY expensive
> >though. This is not a pressing issue in absolute need of resolution however. -
Justin
> >
> >
> What's "Cubase"? The prices are 100 Euros for Cubasis VST (48 audio
> channels on either Windows or Macintosh), 400 Euros for Cubase SL and
> 800 Euros for Cubase SX. Quite a difference!
>
> Ah, only SX gets you 32 VST instrument slots (whatever that means).
>
>
> Graham

--- In MakeMicroMusic@yahoogroups.com, "Justin Weaver"
<improvist@u...> wrote:
> Cubase SX is indeed the ultimate of all ultimates for multitrack
recording and VST
> instrument simultaneity. Although, I should add that there are few

Which might be true if you want to limit your softsynths to VST
plugins. Since you say you come from a Mac OS background (like me),
check out the daw-mac archives - you will see a wide array of
opinions on the best multitrack recording software. Digital
Performer, Logic, Cubase, and Pro Tools all have their zealous
supporters. ;)

One more company that I'm watching is U&I Software, makers of
MetaSynth, yet another soft synth with microtonal capabilities. They
say they aim to have all their products ported to Mac OS X by "late
2003". I have no idea though how their MIDI sequencer (Xx) and
multitrack recorder (MetaTrack) compare to the big manufacturers'
products.

Paolo

Hi Paolo,

{you wrote...}
>One more company that I'm watching is U&I Software, makers of MetaSynth, >yet another soft synth with microtonal capabilities.

It is a little difficult to tell from their manual just *how* you use this in an integrated, sequenced fashion, and it is a shame the the microtuning is implemented in a 'roll your own' style rather than accessing one of the current standards. That said, it looks like a fascinating sound generation tool.

One thing that would really help with clarity on the list is if (like in this case) a product is only for one particular platform that the writer could note that. There isn't any way for me to test MetaSynth, because it is a Mac-only app.

For anyone that would like to play around with similar ideas - taking a graphic image and translating the colors into a sound canvas - you can play all you want with the freeware sound widget called Coagula:

http://hem.passagen.se/rasmuse/Coagula.htm

Especially if you utilize it with a companion graphic app, you can achieve some very interesting texture pieces; I think people involved in sound design and theatre work might find it of interest. Pitches are linked to relative position in the vertical realm, green and red spectrums place the sound in the left-right stereo field, and blue spectrum is the amount of noise. While straight-forward drawing yields more articulated sounds, you can do gaussian blurs and get very hazy, evolving (and quite microtonal) soundfields. Wish I had this back in my hippy days...

Cheers,
Jon

"Jonathan M. Szanto" <JSZANTO@...> wrote:

> http://hem.passagen.se/rasmuse/Coagula.htm
>
> Especially if you utilize it with a companion graphic app, you can achieve
> some very interesting texture pieces; I think people involved in sound
> design and theatre work might find it of interest. Pitches are linked to
> relative position in the vertical realm, green and red spectrums place the
> sound in the left-right stereo field, and blue spectrum is the amount of
> noise. While straight-forward drawing yields more articulated sounds, you
> can do gaussian blurs and get very hazy, evolving (and quite microtonal)
> soundfields. Wish I had this back in my hippy days...

It does nice stuff from images...
You can get all sorts of sounds from fractals.

...Same with Svelte, but it's a little trickier.

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"

/makemicromusic/topicId_5344.html#5351

<JSZANTO@A...> wrote:
>
> {you wrote...}
> > > 4. Everything seemed ready, so I started laying down tracks...
> >
> >How did you do 7 tracks at once with CronoX? -- you must have done
them in
> >layers
> >right?
>
> You missed the part in the post:
> "3. I brought up CronoX inside a sequencer/audio workstation (Sonar
2.2)"
>
> >I'd like to do something like this so I can have multitrimbral
recordings
> >with a whole 'orchestra' of sounds, but I was under the impression
that
> >I'd need Cubase or the like to do it.
>
> OK, this time *you're* going to have to either search for a free
> sequencer/VST host, or go out and buy one! There are certainly a
couple of
> ways to automate more than one instance of a synth (Rick uses a
notation
> program to drive a host that accepts input on multiple midi
channels [did I
> get that right, Rick?]), while I simply use a combination midi
sequencer /
> digital audio recorder (Sonar). That particular choice happens to
be
> because I've used Cakewalk products for a long time and it feels
somewhat
> comfortable; there are a number of other good programs out there,
something
> more appropriate to the Mac OS X I am sure.
>
> Cheers,
> Jon

***So, Jon, if I'm reading this post and the prior one correctly, you
are, essentially, bringing up *individual* instances of a synth... so
you have several different synths going in Sonar... (???) Yes?

JP

Joe,

{you wrote...}
>***So, Jon, if I'm reading this post and the prior one correctly, you are, >essentially, bringing up *individual* instances of a synth... so you have >several different synths going in Sonar... (???) Yes?

This is a very inexact analogy, but think of your word processor (as the sequencer/host/digital_audio_workstation:

You start it up, and then you open a document, and then another, and a couple of more. You can shuffle between them, change text in each one, add different graphics or type to each, and at some point save each.

That is somewhat what happens.

For me, I open Sonar (let's assume a blank start, not with a pre-existing project or template). I choose to add a track, and in this case I'll pick CronoX. Once I've done that, I can open up the main window of the synth, load a patch, import a tuning, change parameters, and (if I feel really motivated) record some music (at this point what I'm doing is midi work: it is just a midi sequencer driving this VST synth).

So I want to add counterpoint on a different kind of sound, but I like that synth? I add another track and another instance of CronoX. Even though it is the 'same' synth, it is a different "copy", if you will. I can use a different preset, different tuning, you get the idea. If you look in Sonar you can choose a "Synth Rack" view; at this point it would look just like a little instrument rack, with two CronoX goodies sitting there, just as if you added a second TX81Z right on top (or underneath) your other one.

These are *virtual* synths: how many you stack up is entirely dependent on both the horsepower of your computer hardware (both the CPU and RAM) as well as *how* you use them. In the varying synths, different kind of patches place more demands on the system than others; a number of synths offer a 'draft' mode, where they turn off parts of the sound, making it maybe less quality-sounding but not taxing the system, and then when you render the piece at the end, you turn up to high-quality mode and the resulting audio file give you what you were hoping for. You hope.

This is all still a learning process for me, and we are still *definitely* in the early stages of this technology. Advancements in the speed and capabilities of CPUs, cheaper RAM, and intelligent design, development and programming are going to open up lots and lots of possibilities. What Justin was able to do for a very modest outlay of cash is really pretty heartening, and with a few reasonable caveats thrown in, it seems safe to say that the future of microtonal synthesis is going to be in the virtual realm, not in steel boxes full of chips.

More on this developing story later...

Cheers,
Jon

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"

/makemicromusic/topicId_5344.html#5367

> For me, I open Sonar (let's assume a blank start, not with a pre-
existing
> project or template). I choose to add a track, and in this case
I'll pick
> CronoX. Once I've done that, I can open up the main window of the
synth,

***How do you do that, Jon, by clicking on the track in Sonar?? What
opens it up?? (I'm trying to visualize the Sonar layout here... since
I *have* run the demo a while ago...)

> load a patch, import a tuning, change parameters, and (if I feel
really
> motivated) record some music (at this point what I'm doing is midi
work: it
> is just a midi sequencer driving this VST synth).
>

***Got it.

> So I want to add counterpoint on a different kind of sound, but I
like that
> synth? I add another track and another instance of CronoX. Even
though it
> is the 'same' synth, it is a different "copy", if you will. I can
use a
> different preset, different tuning, you get the idea. If you look
in Sonar
> you can choose a "Synth Rack" view; at this point it would look
just like a
> little instrument rack, with two CronoX goodies sitting there, just
as if
> you added a second TX81Z right on top (or underneath) your other
one.
>

***That's pretty neat.

> These are *virtual* synths: how many you stack up is entirely
dependent on
> both the horsepower of your computer hardware (both the CPU and
RAM) as
> well as *how* you use them. In the varying synths, different kind
of
> patches place more demands on the system than others; a number of
synths
> offer a 'draft' mode, where they turn off parts of the sound,
making it
> maybe less quality-sounding but not taxing the system, and then
when you
> render the piece at the end, you turn up to high-quality mode and
the
> resulting audio file give you what you were hoping for. You hope.
>
> This is all still a learning process for me, and we are still
*definitely*
> in the early stages of this technology. Advancements in the speed
and
> capabilities of CPUs, cheaper RAM, and intelligent design,
development and
> programming are going to open up lots and lots of possibilities.
What
> Justin was able to do for a very modest outlay of cash is really
pretty
> heartening, and with a few reasonable caveats thrown in, it seems
safe to
> say that the future of microtonal synthesis is going to be in the
virtual
> realm, not in steel boxes full of chips.
>
> More on this developing story later...
>
> Cheers,
> Jon

***I really appreciate your "pioneering" efforts and this very clear
explanation. There is no question in my mind that *eventually* I
will want to go in that direction since, as everybody knows (it's no
secret :) I could use some better sounds in my pieces...

I'm reasonably happy right at the moment with my working methods, but
I'm sure I'll be headed in this direction once I let youse guys
figure out all the bugs... :)

JP

Joe,

{you wrote...}
>***How do you do that, Jon, by clicking on the track in Sonar??

I won't waste a lot of group time here, it is simply a menu item "Insert -> DXi Synth", and there are some options as well.

>***I really appreciate your "pioneering" efforts and this very clear >explanation.

Glad to help, but there are a lot of people before me as well.

>There is no question in my mind that *eventually* I will want to go in >that direction since, as everybody knows (it's no secret :) I could use >some better sounds in my pieces...

I haven't looked at it that way, I just figured you were balancing out the universe where there were pieces that had great sounds and absolutely no content!

>I'm reasonably happy right at the moment with my working methods, but I'm >sure I'll be headed in this direction once I let youse guys figure out all >the bugs...

Well, I have to say, since it is software, there will probably *always* be bugs! And anything that starts bleeding-edge remains that way, because everyone - developers and users alike - always push the envelope.

But it is one really interesting envelope these days...

Cheers,
Jon

> More on this developing story later...
>
> Cheers,
> Jon

I bet a web page like this {basic sound editing/songwriting/composing
Well written, actually informational text and music bits {formatted
in lillypond or cmn of course so as to be nice and sparkly crisp like
only tex can be.}} rather than thinly disguised ads for the latest
sequencing programs} would get enough hits to support itself.

{It strikes me as strange that there are relatively few tutorial
pages for this sort of thing as opposed to all of the pages for
photoshop, etc}

{{Strikes me as strange that I can't really seem to find any tutorial
pages on the subjects I'm actually interested in like composition,
electronic composition, etc...}}

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"
<JSZANTO@A...> wrote:
> >One more company that I'm watching is U&I Software, makers of
MetaSynth,
> >yet another soft synth with microtonal capabilities.
>
> It is a little difficult to tell from their manual just *how* you
use this
> in an integrated, sequenced fashion, and it is a shame the the
microtuning
> is implemented in a 'roll your own' style rather than accessing one
of the
> current standards. That said, it looks like a fascinating sound
generation
> tool.

The lack of mention of supporting MTS, SCL, or TUN files gives me
pause as well, which is why I'm leaning more towards FM7, which is
available now, does support MTS, and can run as an Audio Unit (a big
consideration for Mac OS X users) or as a standalone synth. Still
keeping an eye on Crystal, though... this week's round of posts to
that group requesting support for MTS and TUN plus Glenn Olander's
previous statement about microtonal support being on his to-do list
keeps my attention.
>
> One thing that would really help with clarity on the list is if
(like in
> this case) a product is only for one particular platform that the
writer
> could note that.

I do apologize for that. I have as much a tendency as anyone else to
forget that other people use a platform different from mine. ;)

Paolo

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"
<JSZANTO@A...> wrote:
> Listers and listees,
>
> A little project, in a way of investigation to shed light for Alison (not
> to mention myself).
>
> The Task:
>
> Use CronoX (a VST/DXi softsynth that can use .wav files for a sound source)
> in a semi-sampler way, this time with simple percussion sounds.
>
> Implementation:
>
> 1. I went out to the garage, and using my MiniDisc and a pair of binaural
> mics, recorded two single notes on my marimba (C2 and C3), two notes on my
> orchestral chimes (C3 and C4), and a bass tone and a slap tone on a djembe.
>
> 2. I brought these into the house, sucked them into a wave editor (Sound
> Forge), separated the sounds into files (with only noise reduction and
> normalization), and saved them to disk.
>
> 3. I brought up CronoX inside a sequencer/audio workstation (Sonar 2.2),
> and then created 5 instances of the synth. With each instance I built an
> instrument: bass marimba, mid marimba, chimes, hi and lo drums. I then
> added two more (ok, I'm cheating), one from a previous percussion
> instrument I created (a morphed tambourine/gong) and the other a gift patch
> from a friend (tuned and floating gongs).
>
> 4. Everything seemed ready, so I started laying down tracks, seeing what I
> could come up with. Eh, it isn't great stuff, but I tried to focus for a
> few bars on the marimbas (which are tuned in 19tet). It is what it is,
> musically, but I did manage to work with 7 tracks of the synth, all with
> different patches, and only had a small problem with latency issues during
> recording (things not lining up despite my fingers being sure they were
> hammering in time). I'm not convinced it is the synth and not something
> else, and I'll investigate that later.
>
> 5. I did a little post-tweaking, moving a few notes in time, drawing a few
> volume envelopes, things like that. When I figured enough was enough, I
> exported the whole thing to an audio file (which means that the mix gets
> done as data, not real-time, so there aren't any latency/timing issues, it
> just calculates everything [I guess]).
>
> 6. Converted file to .mp3, which (alas) lost some of the twinkle, and
> uploaded to microtonal.org.
>
> Total time for project: 2 hours.
>
> So there you have it: "The Avon Lady Wears Lattice-Weave Hose", rendered
> only with the fine little softsynth CronoX from LinPlug, with custom
> sample/patches from yours truly, composed/improvised in 19- and 31-tet. And
> with no socially redeeming value.
>
> Questions welcomed, best I can answer them I will.
>
> I know, I know: Jon used an ET? *Two* of them?? Kinda sick, huh? :)

I don't get it-are you usually a JI guy, or non-octave guy, or something?

NIce work, Jon! I like the rhythmic energy, and the way, it sort of 'melts' at the
end....like Joseph, I would love to see this developed further into a longer work..I
wanted more! (especially the groove in the beginning)...make the Avon Lady do a
primitive sacrificial danse to a fever pitch a la Stravinsky for at least 3 minutes!!!!

Keep it going, and keep us aware of your latest work on this and other stuff! I like
what I hear very much.....

-Aaron.

Jon,
I really enjoyed listening to Avon Lady in Lattic Hose. It is more
than a trial run to prove a methodology, it really sings! Great work.
Keep it up. You might need to downsample the marimba a bit to make it
sharper. In other words, instead of playing the sample at its
recorded pitch, use a sample recorded at a lower pitch and then play
it back at a higher pitch. This gets rid of the muddled sound that
results from filtering and microphones. I downsample my finger piano
by 2-3 notes to give it more bite.

Keep it up!

Prent Rodgers
Mercer Island, WA

--- In MakeMicroMusic@yahoogroups.com, "Jonathan M. Szanto"
<JSZANTO@A...> wrote:
> Listers and listees,
>
> A little project, in a way of investigation to shed light for
Alison (not
> to mention myself).
>
> The Task:
>
> Use CronoX (a VST/DXi softsynth that can use .wav files for a sound
source)
> in a semi-sampler way, this time with simple percussion sounds.

Prent,

Oh, man, you made my morning! Good to hear from you!

{you wrote...}
>I really enjoyed listening to Avon Lady in Lattic Hose.

...and the rest. <blush> You know how much I've enjoyed your work over the years, so in spite of the widget-status of the piece, I am happy you liked it.

>You might need to downsample the marimba a bit to make it sharper.

I realized that in doing a quick-and-dirty, I used too much verb, kept things too dark, etc. I even think decent EQ'ing would have helped, but down-sampling would definitely be another way to go. In fact, I had used a higher marimba sample that I found too trebly, and I probably should have gone with it - next time.

But thanks for the tips about down-sampling, especially because every tip like this that floats out has the potential to assist anyone who is reading it.

>Keep it up!

Oh, it should be up for another week or two, and then I'll take it down. :)

Can we look forward to some new PR / Csound magic anytime soon???

Cheers,
Jon

Hey folks, I've been away from this list for a few weeks.
I'm using Mozilla email on this machine and have
the MMM folder inside of the Tuning list folder.
I didn't realise the was any traffic here.

Very nice JS! But please do be careful with those
evil temperaments... ;)

What are you using for an audio interface?

I'm looking for a new one, the midiman dman 2044
from my old machine doesn't work with WinXT.
I don't even know why I installed it in the new machine,
I should know better!

The M-Audio Firewire 410 looks interesting, but it might me more then I need.

http://m-audio.com/products/m-audio/fw410.php

--
* David Beardsley
* microtonal guitar
* http://biink.com/db

Hi David,

{you wrote...}
>I didn't realise the was any traffic here.

It ebbs and flows.

>Very nice JS! But please do be careful with those evil temperaments... ;)

Must have been the drugs...

>What are you using for an audio interface?

I've been very happy with an Aardvark LX6 Pro that I got earlier this spring:
http://www.aardvarkaudio.com/aasd-v1/products/lx6-main.html

The nice thing is 4 audio inputs, perfect for my long-delayed project of taking old 4-track reel-to-reel master tapes from the 70's+ and doing new digital mixes and fixing things and adding things... The card installed with no problems, the monitoring is good, and with my new computer it is quite portable.

>I should know better!

That is why we live for a while.

>The M-Audio Firewire 410 looks interesting, but it might me more then I need.

Boy, the last six months have had a slew of cards come out. I think all a person would need to do is give a realistic thought to what they really need and they could find a card for their budget.

Thanks for the nice comments about the piece, I promise things of substance later on...

Cheers,
Jon

Jonathan M. Szanto wrote:

>>What are you using for an audio interface?
>> >>
>
>I've been very happy with an Aardvark LX6 Pro that I got earlier this spring:
>http://www.aardvarkaudio.com/aasd-v1/products/lx6-main.html
>

Looks interesting. It looks like I have a bit of research ahead of me.
It's a shame the I let my Electronic Musician sub die last year,
if I'd kept it, I could just leaf through old issues.

>The nice thing is 4 audio inputs, perfect for my long-delayed project of >taking old 4-track reel-to-reel master tapes from the 70's+ and doing new >digital mixes and fixing things and adding things... The card installed >with no problems, the monitoring is good, and with my new computer it is >quite portable.
> >

My old Dman 2044 does that but doesn't work with XP.

Thanks!

--
* David Beardsley
* microtonal guitar
* http://biink.com/db