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Does Liquid Audio compete with RealNetworks?

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Overview

I run an "ADAT Studio" in a rural area (away from the music hotspots so we don't get to compare notes with many other studios). We use a lot of the same gear as most of the "World Class" studio's do.

Hi, I'm considering MOTU for a DAW setup and from the MOTU site it appears the S/N on the 1224 is quite better @116db than the 2408 mkII of @106db. Both are 24 bit with same sampel rates. (I think I have the specs right above)

Bottom line - can you hear the difference?

Thanks for any comments. Shane

It's hard to remember which hat you're wearing sometimes when you run a session. Some engineers are frustrated musicians or producers. You hafta walk a thin line. Does the group want your suggestions? Do you get pissed off if they don't listen to your ideas (or turn them down)?

Originally posted by DAvid Goodermuth on another thread:

"It has been my experience that the 2-bus is a weak point in a lot of analog consoles, as well as the daw sh*t. The SSL E's and G's 2-bus totally sucked. Most quality studios using SSL's bypassed the factory 2-bus either with on-board mods, or outboard faders. The "J" seems to be better, but most of the daw's do indeed blow."

Whats the deal with the different converters MOTU uses in their various interfaces? I own an original 2408 and want to add another interface. Are the converters in 1224 and the new MKII 2408 the same? What is the general concensus on either of there quality?

Thanks for the response to my previous post everyone. It looks like I will be diving in with the Paris Pro (after some rather lengthy deliberations!). In doing so, I was wondering if anyone could comment on the following:

1. In order to sync to an outboard drum machine or a Korg Triton, will I require the STC pro timecode interface module?

Anyone know where in NYC I can get a blown channel fixed? Or maybe change the A/D converters to 24 bit?
Thanks in advance. .WAR