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TITLE OPTIONS: Once Bitten, Twice Shy? THAT WAS THEN, NATIVE IS NOW! A workstation user goes Native and lives to tell about it. UNEDITED VERSION ( Images to be added, hopefully soon ) ã 2000 by Eddie Ciletti The term, "Sound Card" has become a bit of a misnomer. It once referred to a generic piece of consumer-oriented hardware designed to give computers a "voice." The converters were cheesy, MIDI sounds were limited (on many models) and the DSP power was minimal. That was a long time ago — in computer years — when turnkey workstations cost tens of thousands of dollars and the heart of a professional sound cards was, and still is, a hardware-dedicated Digital Signal Processor (DSP). In addition, an on-board hard disk controller made workstations like Sonic Solutions, ProTools and Sadie viable back in the day before Viagra accelerated microprocessors and disk drives to warp speed. A LA CARTE That was then, "Native" is now. Writing DSP-specific code is not as cost effective as generic code that takes advantage of the horsepower available in the latest microprocessors. Going Native allows users to create an affordable workstation a la carte, choosing hardware specific to their needs that is not "married" to any one software interface (and vice versa).  The products overviewed in this article — Adat Edit, CM Automation’s MOTOR MIX controller, Minnetonka’s MxTrax (new Native version), Syntrillium’s Cool Edit Pro and Steinberg’s NUENDO — are just a few of the new breed of workstation options and accessories. As software, these products rely on minimal internal hardware, a PCI "I/O card" that is more often than not, a digital interface — with no dedicated DSP. Onboard analog converters are the exception. There are plenty of choices at the other end…  Minimal components on the I/O card make it more affordable to manufacture than its DSP counterpart — As you’ll see Figures 1a, 1b, 1c and 1d — the hardware comparison — the non-DSP cards are pretty basic and as such, less likely to become extinct. The money is in the "break-out box," where you’ll find analog I/O (a moving target in terms of "bits" and sample rates), digital I/O (also a variable), plus the kitchen "Sync" of timing and control — Word, Video, Time Code, MIDI, etc. INSERT the following IMAGES For Figure ONE: FIG-1a: mixtreme2a.jpg Soundscape’s MIXTREME with its Motorola 56301 DSP FIG-1b: yamaha_dsp1a.jpg Yamaha’s DSP Factory: Look at all those chips! FIG-1c: adatedit4a.jpg ADAT EDIT PCR: I/O but no DSP FIG-1d: nuendo3.jpg Steinberg’s NUENDO: I/O but no DSP ME, MICE ELF, EYE  OK, fifth paragraph and you’re still with me. They say you can only write what you know, so here’s my story. For several years I have been using the same workstation — the Soundscape HDR-1 PLUS — a dedicated piece of hardware that has been extremely reliable and robust, requiring minimal resources from my PC, a Pentium 166. I have two accelerated units capable of mixing 24-tracks to stereo and 5.1 surround. (I first reviewed ‘scape in 1994.)  Soundscape shielded me from the world of sound cards until last year when I reviewed Mixtreme, their entry into the sound card arena. Like Yamaha’s DSP Factory, MIXTREME has on-board DSP and its "mixer" is identical to that of the workstation. But in order to capture and manipulate audio via hard disk I had to learn new editing software. It was at this time that I was introduced to Sonic Foundry’s ACID and to Syntrillium’s Cool Edit Pro. Learning to configure the computer for more audio than just "You’ve Got Mail" turned into a bit of a detour. During the installation process, most software searches for hardware and configures itself. No matter whether you’re in the analog or digital domain, the same question rears its head, "Why aren’t I hearing anything?" So, I found myself in the Windows Control Panel tweaking the various Multimedia options as seen in Figures 2A, 2B and 2C. The downside of using "unmarried" hardware and software is the finger pointing that goes on when things don’t work.  >> For Figures 2A, 2B & 2C Insert Images: mmp_devices.jpg, mmp_audio.jpg and mm_settings.jpg, respectively. (order is non-critical.) Caption: Buried Treasure or Pandora’s Box? The options under MULTIMEDIA DEVICES in the Windows Control Panel can make the difference between function and frustration. << Return to the Home Page?

 
 

THE HARDWARE STORE AltiVec is Apple’s "Velocity Engine," a special addition to their PowerMac CPU that, in some cases, can accelerate DSP processes by 200-300%. It is particularly well suited for surround and the intensive processing demands of plug-ins. In its way, it bridges the gap between dedicated third-party hardware a la TDM, Soundscape and Creamware with the entirely Native stuff. On the "Wintel" side (Windows and Intel), the Pentium-III processor features 70 new "MMX" instructions (to speed up DSP intensive operations) new Advanced Transfer Cache, a faster (133mHz) system bus and processor speeds that start at 450 mHz. Rambusâ is the new high-speed memory that takes advantage of all this power, although at the moment it is very expensive. AH SOFTWARE! Each time computers became more powerful new software comes along to take advantage of it. (Steinberg’s CUBASE VST was written from the ground up to take advantage of the new MMX instruction set.) We all want more tracks with lots of effects and no glitches, right? Native software is basically a recording, editing and mix "engine" that relies on your computer’s horsepower to deliver the goods. The audio engine may be a standalone product or it may also be integrated with a MIDI sequencer. Software that makes the host processor do the DSP chores is no longer "married" to a specific hardware interface, assuming there is a standard amongst manufacturers… ASIO (Audio Stream Input Output) ASIO is an open driver interface standard developed by Steinberg that makes software compatible with hardware opening up a whole range of a la carte options so users can mix and match according to their working style, interface needs and/or budget. ASIO drivers are more efficient than the MacOS Sound Manager or Windows Sound Drivers (Wave API and Direct Sound) and allow direct access to the card’s functions, meaning: "Reduced" latency: ASIO-2 doesn’t allow ‘no’ latency but it does allow the software equivalent of a hardwire bypass of the channel being recorded (for cards that support it). When the VST mixer is "bypassed" you hear the signal coming into the card before processing. (Overdubbing when the live signal is delayed would drive you crazy!) Typical latencies with ASIO are generally lower than with MME (the old windows sound driver), but not by much. Check with the manufacturer to see whether they support this feature. lower CPU overheads potentially more tracks potentially more FX access to any special DSP functions that the card may offer VIRTUAL INSERT: Turn On, Plug-In Traditional hardware mixers have INSERT points for your outboard of choice. In the virtual world, "outboard" is written as a plug-in, the most well known of which conform to Digidesign’s TDM buss for ProTools, but there are others including Real Time Audio Suite (RTAS) and Audio Suite. RTAS and AudioSuite are also Digidesign formats; RTAS being the native plug-in format for the Digi-001. For example, Kind of Loud has announced TDM, RTAS and MAS versions of their RealVerb 5.1 plug-in. MOTU Audio System — MAS — is another software "engine" for Macintosh. (MAS is the native format used by MOTU’s Digital Performer.) In addition, Waves, Arboretum, TC Works, Antares, Bomb Factory, Cycling 74, Audio Ease, Metric Halo Labs, DUY Research, BitHeadz, Koblo, Native Instruments, Propellerheads are all plug-in developers that support the MOTU format. AudioDesk is the audio-only version that’s bundled with their 2408 audio interface. In addition to sample-accurate transfers to and from tape, it is possiblwe to zoom in to the sample level and even nudge the audio one sample at a time. Virtual Studio Technology — VST — is an "open" plug-in architecture from Steinberg for the Windows OS. (VST was first written for the MacOS version for Cubase. Over 250 VST Plug-ins are available.) Other Windows plug-ins are referred to as "Direct X" but the term is different than Microsoft’s DirectX set of multimedia tools (DirectDraw, DirectSound, DirectPlay, DirectInput, and Direct3D). This confusion has come from Microsoft changing the names of their technologies way-too-often. What does matter is that audio data is processed as efficiently as possible without interruption. Return to the Home Page?

 

JE NE SAIS QUOI Certain types of analog gear are embraced for that sonic "je ne sais quoi," indiscriminately used and abused but thankfully very forgiving. In the digital realm users must stay informed — writing this article a case in point — by knowing what is possible today and to temper expectations of things to come. (We have all suffered the promise of vaporware hyped by the next major trade show.) None of the Native products I tested so far are as impervious to distractions as Soundscape, which as dedicated hardware allows Photoshop and Word to be opened while playing a 24-track mix without even a hiccup on a Pentium 166. (I am often reviewing a product, performing screen captures and documenting via word processor all on the same box.) This is not to "dis" any of the native products but to point out that nothing works as transparently as dedicated hardware. Here is a preliminary report of the products I’ve tested (round one). ADAT EDIT: $399 list Adat PCR is a PCI I/O card with light-pipe (in and out) plus a nine-pin adat sync connector for Mac and Windows. The breakout box has eight analog inputs and outputs using 24-bit converters. The purpose of the product is to allow users to import and export up to eight tracks with an adat recorder while maintaining sample accuracy (no time shift). Adat CONNECT is the transfer software and Adat EDIT is an 8-channel editor/mixer, a MIDI sequencer and a notation system. (Both CONNECT and EDIT are OEM’d by EMAGIC.) The package works as intended although CONNECT and EDIT are not "integrated." For example, when using CONNECT, I never figured out a way to hear the transfer from tape to hard disk — although it worked perfectly — nor did I try to do the transfer from within EDIT. The eight files were opened in Adat EDIT and all was well until I attempted to zoom in to the near-sample level. With real drum tracks recorded on an analog board with no phase-reverse switch, at minimum I knew the kick drum was out of phase with the rest of the kit. EDIT can zoom in to a single audio file with great detail, but not ALL audio files. (See Figures 3a and 3b.) The beauty of importing all eight tracks at once is that that all have the exact same starting point. Enter Cool Edit Pro, from Syntrillium… Insert Images for: Figure 3a: trackzoom.jpg Zooming in to all tracks on ADAT EDIT does not reveal enough information to view and correct phase between tracks. Figure 3b: wavezoom.jpg The waveform edit window of ADAT EDIT COOL EDIT (PRO): $399 list CEP is a dedicated multitrack recorder-editor-mixer that I found to be very intuitive, combining mixer and tracks in one window unlike Adat Edit. The mixer is not nearly as sexy as either Adat Edit or Minnetonka’s MxTrax, but for playing "god," you can fix timing errors, restore dynamics and use the built-in Real Audio plug-in to make web-transportable mixes to send to the band! Figure 4a and 4b show the kick and snare transients after the tracks had been lined up for minimal phase cancellation. You can hear the real audio rough mix at tangible-technology.com/music/plan_B.html. (CEP does a lot of "caching" when changes are made. I understand that turning off such features as Peak Calculate and UNDO reduces "overhead.") Insert Images for: Figure-4a: kickphase.jpg Zooming in on all tracks using Cool Edit Pro allows precise phase alignment of drum tracks to minimize low frequency cancellation. Figure-4b: snarephase.jpg Checking snare phase on all drum tracks using Cool Edit Pro. Return to the Home Page?

 

CONTROL SURFACE ENVY: Motor Mix ($995 list) Next on my to-do list is CM Automation’s MOTOR MIX Digital Mixer work-surface, which is useful no matter what form your workstation takes. I don’t mind using a mouse, but constant "mousing" around is a health hazard especially for people like me who put a death grip on the poor rodent. I tested MOTOR MIX in conjunction with the Native version of Minnetonka’s MxTrax ($399) which I first saw at the Winter NAMM show in LA. This program was still in Beta as of mid-April, but it supports many control surfaces including the Mackie HUI, the Yamaha 01V and 02R. MOTOR MIX packs power and full 100mm motorized faders into a compact, robust package. There are plenty of quasi-dedicated button groups including Record Enable, Mute and Solo — all illuminated — plus Pan knobs and an LCD display. All of the buttons serve double duty by way of the Shift key. MOTOR MIX is comfortable, not crammed, and ready to share your limited desktop real estate, not hog it. Of course you can have more than one MOTOR MIX and/or the upcoming CM Automation DASHBOARD Digital Editor Worksurface with "transport" control and jog/shuttle wheel or their WEDGE (it links MOTOR MIX and DASHBOARD, both were shown at the Winter NAMM). While I did little more than confirm the functionality of Motor Mix and MxTrax via automation, my wrists are thankful in advance. More to come. Other creature comforts include using dual-displays and touch sensitive screens. The Matrox Millenium G400 is an AGP video card that sells for about $189 and features two outputs that can be independently configured for video, flat screen and "traditional" desktop monitors. Check out the adds and you’ll see Steinberg NUENDO sporting a pair of monitors (now all you need are 3D glasses) and SADiE’s EditSlate, a touch-sensitive LCD display that eliminates the need for a mouse. Multitrack editing and mixing is awesomely powerful on any DAW but the potential for wrist, neck and eye strain is there, so be good to yourself. Don’t wait until the damage is done. MINNETONKA AUDIO SOFTWARE Truth be told, I moved to Minnesota because there are geeks out here doing cool things. What I like about Minnetonka’s approach to editing is their method of trimming track entrances and exits (similar to Soundscape) plus manipulate and massage cross-fades (similar to Sonic Solutions). Minnetonka’s non-Native version of MxTrax ($499) supports Yamaha’s DSP factory as does the Mx51 Surround version ($895). Dolby AC-3 ($995) and DTS ($499) plug-ins are currently available. Kind of Loud will be supporting Minnetonka's Mx51 platform with their RealVerb 5.1 product. Return to the Home Page?

 

LEGACY SOAPBOX I’m a pretty literate guy, capable of maintaining several computers on a network (yada-yada). The downside of the Windows (WINTEL) platform is that it is a "legacy" box full of potential gotchas. (Those with Apples that never misbehave can cast the first stone!) In order for me to have MIDI it was necessary to transfer MOTU’s MIDI TimePiece AV (MTPAV), which has served me so well for so many years, from the venerable Pentium 166 to my almost outdated 450mHz PII. MOTU: MIDI TimePiece AV (USB version $595 list) MTPAV is both an 8x8 MIDI patch bay as well as Timecode I/O and tape machine interface. Several ports are available to connect with either Windows or Mac hardware, my connection was via the parallel printer port. (A new USB version is available.) During installation, a warning message popped up explaining that the number of active MIDI ports permitted by Windows had been exceeded. Everything but the network card was pulled, the operating system was reloaded and still the problem persisted so I went surfing. MOTU’s online help indicated that this problem only pertained to Windows 95. I am running Windows 98. The conflict can be caused by legacy devices like Sound Blaster cards stealing resources in DOS but not reporting same in Windows. (Network cards can be a problem also.) In my case, it was one of the Serial ports — Comm1 or Comm2. I disabled both via CMOS setup, the driver loaded, the software installed and my experience with MOTOR MIX was, uh, moving! I can not yet speak with authority about whether the Universal Serial Bus (USB) reduces legacy headaches, but one can only hope. (See Figure 5) >>For Figure 5, insert image "cmos5a.jpg" << Figure 5: During boot-up, Windows computers allow access to motherboard parameters via the CMOS setup (lower portion of screen). On the upper screen, not the Comm ports are turned off. Return to the Home Page?

 

FROM THE STONE AGE… While my emphasis has been on multitrack, let’s not forget stereo. I have a good friend (Joe Hannigan at westonsound.com) who started "ages" ago with a Roland RAP-10, an entry-level card with no digital I/O. He now has several computers — all networked — recording operas to DA-38 and shooting two-camera video. For software, Joe uses SEK’D’s Samplitude 2496 for mixing eight tracks to stereo and burning CDs (using their Prodif Plus card for I/O). He also uses a reverb plug-in from Sonic Timeworks. The video is edited to the audio with Adobe PREMIERE. From a one-person operation with part-time help, he grew into a niche market — classical recording on a tight budget — at just the right time. DIVERGING CONVERGENCE From a "headroom" perspective, I like the idea of a hardware-dedicated workstation. While they may seem potentially threatened by "The Natives," the new hard-disk recorders from Mackie and TASCAM are perfect examples of hardware’s survival. We can count on computers becoming more powerful and I’ll bet we can count on these new hard disk recorders having expanded editing features in the not-too-distant future. While the solution to our technical challenges is more horsepower (and more, cool plug-ins) the bigger challenge is sorting through the many options. If you need help putting together a workstation, check out Wave Digital and all the other manufacturers whose links are provided in Table One. I hope this article helped. This investigation to be continued… My thanks to Bill Putnam at Kind of Loud / UA for his help!!! Return to the Home Page?

Send e-mail to edaudio@tangible-technology.com

LINKS TO COMPANIES MENTIONED IN THIS ARTICLE
 

Company	Product(s)	Link
Alesis	Adat Edit	alesis.com
Creamware	Luna, Scope & Pulsar	creamware.de
CM Automation	Motormix	cmautomation.com
Digidesign	The ProTools Family	digidesign.com
Emagic	Logic Audio	emagic.de
Kind of Loud	Surround Plug-ins	kindofloud.com
Minnetonka	MxTrax and Mx51	minnetonkaaudio.com
Mark of the Unicorn	MIDI TimePiece AV	motu.com
Studio Audio & Video	SADiE	sadie.com
Sek’d	Samplitude 2496	sekd.com
Sonic Foundry	Acid, Sound Forge, Vegas and CD Architect	sonicfoundry.com
Sonictimeworks	Direct X plug-ins	sonictimeworks.com
Soundscape	R.Ed and Mixtreme	soundscape-digital.com
Steinberg	Nuendo	nuendo.com
Steinberg	Cubase	steinberg-na.com/
Syntrillium	Cool Edit Pro	syntrillium.com
Wave Digital	PCs for Audio Apps	wavedigital.com/
Yamaha	DSP Factory	yamaha.com

Table One: List of some of the manufacturers mentioned in this article

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Image list for this article:

FIG-1a: mixtreme2a.jpg

Soundscape’s MIXTREME with its Motorola 56300 DSP

FIG-1b: yamaha_dsp1a.jpg

Yamaha’s DSP Factory: Look at all those chips!

FIG-1c: adatedit4a.jpg

ADAT EDIT PCR: I/O but no DSP

FIG-1d: nuendo3.jpg

Steinberg’s NUENDO: I/O but no DSP

Figures 2A, 2B & 2C Insert Images:

• mmp_devices.jpg,
• mmp_audio.jpg and
• mm_settings.jpg, respectively. (order is non-critical.)

Zooming in to all tracks on ADAT EDIT does not reveal enough information to view and correct phase between tracks.

Figure 3b: wavezoom.jpg

The waveform edit window of ADAT EDIT

Figure-4a: kickphase.jpg

Zooming in on all tracks using Cool Edit Pro allows precise phase alignment of drum tracks to minimize low frequency cancellation.

Figure-4b: snarephase.jpg

Checking snare phase on all drum tracks using Cool Edit Pro.

For Figure 5, insert image "cmos5a.jpg" <<

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