soundcard rme

On 2014-03-03 17:54, frisbeehead wrote:
we're talking little differences in sound here, that will only become apparent on very good systems and for well trained ears.

I can't see how someone would go wrong with an RME interface for music production. The driver stability is a factor for most people, and RME delivers on this department.

I'd be happy using for most of my stuff, then presumably use some hardware gear that costs more mainly for summing and injecting some character, rather then the precision of the converters alone.

API is far from being transparent, it's got a very peculiar sound and to my mind ranks high on the coloration department for those who manage to have the buck to spend of course. But yeah, provided you do, it's great! Even the 500 series is a good investment imo!

So this is the kind of thread where everyone seems to be right. For normal producers that are producing on their bedroom, RME is a very good interface to have, very reliable, very short latency, a number of connections, and those analysis tools are cool to!

On 2014-03-07 14:59, UnderTow wrote:
A bit of a reality check here. What is the goal of producing psytrance? To play live or get your stuff played by DJs. If you play live you can chose whichever converters you want but it surely won't be Lavry, DAD, Prism etc... For DJs, it is mostly CDJ converters or one of the Traktor interfaces. I am yet to see a DJ bring his Lavry Gold's to a gig. And then we haven't even touched on the effect of the tempo/pitch changing while DJing which has a greater impact than most modern converters.

RME interfaces have good converters. They do differ in quality from the Babyface (with the low-end roll-off) to the ADI-8 series but, excepting the Babyface, all are more than good enough for professional grade quality recordings and playback. RME converters are used in many commercial studios and are all over the place in broadcast chains. These are definitely not "bedroom" converters.

I have personally compared the Fireface 400 to my Prism converters and although there is a difference, it is certainly not night and day. More like 99%. If your music doesn't sound good, you can't blame an RME interface for that.

These days there are many converters that sound good enough for production purposes. As others have mentioned, stability, latency and CPU load of the interface affect your work every day. Especially with electronic music production where we use loads of synths and FX plugins. This discussion and the table in the first post is a great resource to see how the drivers of interfaces affect latency and CPU load: http://www.gearslutz.com/board/music-computers/618474-audio-interface-low-latency-performance-data-base.html

I hope this helps,

UnderTow

On 2014-03-07 14:59, UnderTow wrote:
If your music doesn't sound good, you can't blame an RME interface for that.

For DJs, it is mostly CDJ converters or one of the Traktor interfaces. I am yet to see a DJ bring his Lavry Gold's to a gig.

On 2014-03-09 15:17, snowdogg wrote:
moleqlarsuperstructure - yea im sure that cable makes all the (placebo) difference in the world!

On 2014-03-09 15:25, moleqlarsuperstructure wrote:
the only reason though why they are so expensive is there are not much producers so they can value a lot.

On 2014-03-07 14:59, UnderTow wrote:


These days there are many converters that sound good enough for production purposes.