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ECHO Audiofire 12 anyone have a review?
Old 5th October 2012
  #91
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tvsky's Avatar
 

yeah there are 2 versions of the af8 , the early one has spdif and the later one had adat and different converters (like the early/late version of the af12) . and the last thing i need is more pre's .

from the echo website faq

AUDIOFIRE 8 - CS4272
AUDIOFIRE 8A (NEWER MODEL W/ ADAT) - AK4620B

the problem with getting an af8 2nd hand is 90% of them seem to be early versions , I don't think many 8A versions were made
Old 9th October 2012
  #92
Hummm... that sucks... I didn't know that...
Well, it's been a while since I looked into interfaces (I bought my AF8 in 2009!!!!)...
Old 19th November 2012
  #93
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mrbibidy's Avatar
 

I have to pop in here and mention something.

I was meandering around the site seeing if anyone had the same experience I seem to be having with my Echo setup. Interesting to see someone else had... Im referring to the "haze"

Im using an AF12 and an AF8 into an SPL Mixdream and a Black Lion pm8 sent into a Rosetta 200 for AD which everything is clocked to.. I've never been fully happy with how hard I have to work at clearing things up (and often to no avail). I felt everything coming from the Echos was "hazy"...

Mind you, I am more accustomed to Lynx Auroras... but I've heard from a bunch of people and read all over that the Echo stuff was 'seriously under rated'... I've even heard it described by engineers i trust as the "poor man's mytek"... so I though the obvious lack of quality I am experiencing couldn't be entirely the Echo's... But to see someone else familiar with higher end converters share my exact observations confirmed it for me... I have been a victim of hype... I need to invest in something else...

I WILL say, however, I LOVE the fact that someone has interfaces with such configurations at such a price point on the market. It met my needs perfectly when I was short on cash... I would recommend them to someone in a similar situation, but I would caution them to expect to get what they're paying for.

Bottom line is try out everything you can. Don't take other people's word as gospel, simply as information to be considered.

Last edited by mrbibidy; 19th November 2012 at 12:35 PM.. Reason: spelling
Old 19th November 2012 | Show parent
  #94
Here for the gear
 

^ Very wise words!

I tend to pick up improvements to my studio as I gather experience. I reach a point where I 'feel' I could get something better. I am going to get a AF12 to go along with my allen and heath mixwizard and patchbay, it's perfect for a small home studio setup and fits the rest of my gear (budget and quality wise).

Why spend a lot of money and invest in an interface that is so overqualified it forces you to change everything in your signal path to actually benefit from it. Also it is not going to teach you something that slowly replacing parts and investing time and knowledge to each upgrade will. I learned a lot in the past from using lousy cables, various interfaces, unbalanced patchbays and cheap microphones. It made me appreciate and cherish every new piece of gear and forces me to use it to the fullest and in that way get to know what could be improved with my next purchase..
Old 19th November 2012
  #95
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I'm totally impressed with the sound of my AF12 but I've never had occasion to clock it to an external source or use it in as complex an environment as what you describe. I have however had other devices that did not play nice with certain setups and came to realize that sometimes you just have give up tinkering on things that *should* work but don't.
Old 19th November 2012
  #96
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mrbibidy's Avatar
 

Yep... Dont get me wrong, it defo doesn't sound "bad" by ANY stretch...

But my room leans much more to the professional side (money making intended) and my clients more on the commercial end so my Echo's, as convenient as they were, aren't cutting the mustard any more.
Old 22nd November 2012
  #97
Dude, I had a pair of AF (8 and 12) for four years, on a 100% commercial studio... and the never complained about the sound.
I've recorded and mixed records on stuff from 001 to Symphonys... and I REALLY, SERIOUSLY don't believe converters "don't cut" or will make a record sound bad.
But anyways... I do rock and metal... if you're on the clean/classical side.. yeah... you might complain.
Old 9th December 2012 | Show parent
  #98
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Quote:
Originally Posted by jeronimo View Post
Dude, I had a pair of AF (8 and 12) for four years, on a 100% commercial studio... and the never complained about the sound.
I've recorded and mixed records on stuff from 001 to Symphonys... and I REALLY, SERIOUSLY don't believe converters "don't cut" or will make a record sound bad.
But anyways... I do rock and metal... if you're on the clean/classical side.. yeah... you might complain.
Dunno man... The HD io's I worked on didn't sound nearly as good as the Lynx's I worked on, which were never as warm as the apogee stuff I worked on... I was definitely impressed with the sound of the Echos for the $500 price point... but Im now forced to compare $500 apples with $5000 apples.

If I were to mix entirely in the box and just spit out a few channels to a couple comps or eq's... then maybe I would stay with the echos... but there is definitely some type of smearing happening the more channels I start using on them. I spent a lot of time on only 8 of the 12 channels of the AF12 before I bought an AF8 and subsequently a bigger (and better) summing system. I moved to 12 then 24 outputs. Some sessions bridged those transitional gaps. I can say in full confidence, the more AF channels I was using, the less I liked the sonics. It just my take.
Old 10th December 2012 | Show parent
  #99
Quote:
Originally Posted by mrbibidy View Post
Dunno man... The HD io's I worked on didn't sound nearly as good as the Lynx's I worked on, which were never as warm as the apogee stuff I worked on... I was definitely impressed with the sound of the Echos for the $500 price point... but Im now forced to compare $500 apples with $5000 apples.

If I were to mix entirely in the box and just spit out a few channels to a couple comps or eq's... then maybe I would stay with the echos... but there is definitely some type of smearing happening the more channels I start using on them. I spent a lot of time on only 8 of the 12 channels of the AF12 before I bought an AF8 and subsequently a bigger (and better) summing system. I moved to 12 then 24 outputs. Some sessions bridged those transitional gaps. I can say in full confidence, the more AF channels I was using, the less I liked the sonics. It just my take.
I know exactly what you mean mrbibidy, I can hear differences, you can, most engineers/producers can, but I don't agree with how things are said here on Gearslutz.

Like saying: "my room leans more on the professional side (money making intended) and my clients more on the commercial end so my Echo's, as convenient as they were, aren't cutting the mustard any more."

Did any of your clients complained about your sound quality? If they did, I bet ALL MY GEAR, it wasn't the converters fault.

Do you know what I mean?

I'm not saying you're not a great engineer or that you shouldn't get better gear if you can, but I'm really annoyed on how things are said here.

Too many great sounding records where mixed using crappy converters into analog gear (crappy for today's standards)... and the Echos sound way better than most of the old converters. But again... I believe you when you say you can hear something when you stack up a lot of it's D/As... I did use it with 16 outs, but only a couple of times and doing rock/metal stuff... also, my monitoring wasn't any good back then... and whatever it did to mess up my sound, it still sounded way better (more depth and punch) when using it's D/A into my passive summing mixer + analog compressors, EQs, etc...
Old 12th December 2012 | Show parent
  #100
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Quote:
Originally Posted by jeronimo View Post
I know exactly what you mean mrbibidy, I can hear differences, you can, most engineers/producers can, but I don't agree with how things are said here on Gearslutz.

Like saying: "my room leans more on the professional side (money making intended) and my clients more on the commercial end so my Echo's, as convenient as they were, aren't cutting the mustard any more."

Did any of your clients complained about your sound quality? If they did, I bet ALL MY GEAR, it wasn't the converters fault.

Do you know what I mean?

I'm not saying you're not a great engineer or that you shouldn't get better gear if you can, but I'm really annoyed on how things are said here.

Too many great sounding records where mixed using crappy converters into analog gear (crappy for today's standards)... and the Echos sound way better than most of the old converters. But again... I believe you when you say you can hear something when you stack up a lot of it's D/As... I did use it with 16 outs, but only a couple of times and doing rock/metal stuff... also, my monitoring wasn't any good back then... and whatever it did to mess up my sound, it still sounded way better (more depth and punch) when using it's D/A into my passive summing mixer + analog compressors, EQs, etc...
Yes.. What I am saying is I have recurring clients who demand quality and who trust me, exclusively (if I may add without sounding pompous as), to deliver that quality, as well as a staple mastering engineer that I use who are familiar with the calibre of my work. We've all noticed there's a difference in workflow... finishing mixes has been more of a challenge specifically in trying to get through that 'smear', as I said, the more outputs I use in my workflow. I've been doing this long enough to know it's not me.. I regularly ask my mastering engineer and my original mentors how my work is progressing and trust them to keep me in check. I'm smart enough to know when my knives aren't cutting it and I need to sharpen them. For me, now, its the converters. Need to get something "sharper". If your lenses is blurry then getting a sharp picture is damn near impossible... know what Im saying? Its possible, but it shouldn't take the amount of work it is taking and I shouldn't have to rely on my mastering engineer to keep things in check. Using Lynx, Digidesign, and Apoggee converters I could pull class A mixes in a couple hours but on the Echos it's just taking hours to massage things into place, at least to a point I know I can trust its right. I can't just hear it and know its right... and trying to 'learn' this 'smear' to work with it is proving friggin' impossible.
Old 12th December 2012
  #101
I understand... I just don't agree
Have you used all those converters on your room? On the EXACT same setup? Is this what you're telling us?
That on the exact same setup, the Audiofires make you work harder?
Again, I'm not saying I don't believe you... I'm just curious.
I have to say the Lynx sound good (heard the Auroras 16), the Avids... kinda harsh to my taste and the Symphony sound the best of all 3 (4 if you include the Echos). But the only ones I've heard on the same room, same setup, are the Avid Omnis and Apogee Symphony... so it's hard to REALLY tell the difference btw anything else...
Old 13th December 2012 | Show parent
  #102
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mrbibidy's Avatar
 

Quote:
Originally Posted by jeronimo View Post
I understand... I just don't agree
Have you used all those converters on your room? On the EXACT same setup? Is this what you're telling us?
That on the exact same setup, the Audiofires make you work harder?
Again, I'm not saying I don't believe you... I'm just curious.
I have to say the Lynx sound good (heard the Auroras 16), the Avids... kinda harsh to my taste and the Symphony sound the best of all 3 (4 if you include the Echos). But the only ones I've heard on the same room, same setup, are the Avid Omnis and Apogee Symphony... so it's hard to REALLY tell the difference btw anything else...
Not all in my room unfortunately. I definitely agree w/you re: the sounds of those convertors. I wish I had the budget to test all them out IN my room... I hate how no one really offers a proper "demo" in the states... They all want you to buy/return or pay crazy shipping (on like large speakers)... Im a little spoilt cause in Oz companies would have someone drive product out to you and let you test it out for a while.
Old 18th November 2013
  #103
Hi,

I have one of those and am very happy with it. No problems at all. Just the buffer size to be secured.
And now i'll probably chain it with a AF4. I have a question about it: Does the AF4 have a clock input ? If not how do you synchronies ?

The only think I miss is an headphones output.
Spdif is not a good option because of the TTL (lack of) quality.
Old 18th November 2013
  #104
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AF4 does not have a word clock port. You'd have to go with an AF8. I sync my AF12 with an AF8 and it works perfectly.
Old 9th September 2014 | Show parent
  #105
Gear Maniac
 

I own two audiofire 12s. I listen to the audio quite often before it's converted and have never noticed a difference before and after. My studio runs full time, year round, and I don't have any complaints about the audiofires. These days I care more about the drivers than the actual converters. They're all so good, even the cheap ones.
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