Fletcher,
I've seen you mention that you liked the Lucid converters. Which unit(s) have you heard. I'm thinking about ADA1000 and the 9624 pair. Is the 9624 worth the extra $1000+?

Hi,
Is there a difference in sound quality between the A8o outputs and the Mec's?
If so, which outputs are preferable for 2-bus analog compression?
10x,
Zooot

in the next few months i am piecing a new macintosh DAW together, probably the dual 533. i use MIDI and live audio quite a bit, and Pro Tools is not an option at this point. my software choices are down to DP 3.0, logic 4.7, and Cubase 5; with spark 2.0 as a sample editor. all are in the same price range, so i'm at odds.

I was just asked to go on tour & do live recording for a live record. I'm planning on using Pro Tools to capture the performances. I'm going to take feeds from the FOH board which is actually less than 22 feeds (with 4 audience mics). While is sounds simple enough, I've never done it. It is a world tour, so adapters/conveters are an issue too.

I'm trying to swap samples between an Akai s3000 and a Mac G4 via scsi/Recycle/VST. My akai samples are stored on Jaz disks and the Mac attempts to format them whenever I'm connected.

Is there a way to stop the Mac reading the Jaz (without affecting my interenal G4 Zip drive)?

Or, is there a better way to integrate akai and mac for sample exchanges?

I have a Rosetta that I use to track with and have three digital sources (standalone HD recorder, 2 digital cards) that all have Word Clock in. So obviously I think I would benifit if they all were clocked with the WC out of the Apogee because of the very stable clock and the syncronous timing (I am guessing here).

Hi All,

My band is a four peice instrumental band (2 guitars, bass, and drums) and we would like to add some vocal samples to our music. We thought it would be great if one of the guitar players could trigger these with a foot controller. We have one that can do patch changes, but is not a midi trigger. Does anyone have any suggestions?

Thanks,
Ken

I wonder if anyone here knows any details about how Gus Dudgeon got the great piano sound on classic Elton John recordings (the Madman album comes to mind). Of course, a great piano, great player and great gear make an enormous difference, but I'm curious about the specific technical details.

I'm looking for a new compressor to work mainly on vocals during mixing but flexible enough to use on other sources occasionally. A few months ago I used a Summit DCL200 which I loved. It could be used very subtley with just enough of its own sound to add a bit of sparkle, without really changing the character of the original source.

Hi all,
I am using Cubase VST24 3.7 with a Korg 1212 card and a 8 ch Tango Frontier Design
20bit AD/DA. I am planning to switch to Nuendo (I thing it will be better for my sutdio)
and I want to improve the audio quality. The Tango is "dying" because of a heat problem