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Steinberg High-End AXR4 Audio Interface Revealed
Old 31st January 2019
  #61
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Originally Posted by troggg View Post
...two words: supremely confident
Love it!
Old 31st January 2019
  #62
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Originally Posted by Dallon426 View Post
Why does Steinberg have Yamaha based drivers and RME are based in house.
Because Yamaha owns Steinberg?

RME == Independiente
Old 31st January 2019
  #63
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Quote:
Originally Posted by sirthought View Post
Interesting that you bring up RME. In the discussion on this product on a different message board, people are saying their Steinberg gear is made by RME, even where the updated drivers were coming from the RME website. I had never heard that, but it would not surprise me, both German based companies.
The old Nuendo interfaces were rebranded RME boxes i believe. More than a few moons ago now, and before Yamaha.
Old 31st January 2019
  #64
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Quote:
Originally Posted by Dallon426 View Post
Steinberg really should aim to write incredible drivers. They could do really well if they could compete with RME.
I've had three different steinberg interfaces and never had any driver problems. Maybe I'm lucky. And Rev-X is a great verb to monitor with.
Old 31st January 2019
  #65
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Quote:
Originally Posted by sirthought View Post
Interesting that you bring up RME. In the discussion on this product on a different message board, people are saying their Steinberg gear is made by RME, even where the updated drivers were coming from the RME website. I had never heard that, but it would not surprise me, both German based companies.
Years and years ago that was true. RME built Steinberg some branded audio interfaces. Also I believe Access (of the Virus synth fame) built RME some MIDI interfaces -- it was some other third party with a reputation (IIRC, Access was also the OEM for the eMagic Unitor/MIDI interface line.) That was a long, long time ago when Steinberg was really just a software company (pre Pinnacle and pre Yamaha.) They were all local German companies and all the founders/leads were/are friends.

Now that they are owned by Yamaha with Yamaha's production abilities and their own audio hardware division, I doubt this is anywhere close to being true. The whole small USB interfaces have no parallel at RME and look wholly like Yamaha products. When Yamaha bought Steinberg it was for two main reasons: strengthen their education-market offerings and to integrate and sell their hardware. It would be off-brand for a conglomerate like Yamaha to flub that second one with contracting out audio interfaces to someone else.
Old 31st January 2019
  #66
Some older Steinberg interfaces were indeed rebranded RMEs, but that was a long time ago.
Old 31st January 2019
  #67
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Can I get one Steinberg/Yamaha AD/DA stage with RME drivers, please!
Old 31st January 2019
  #68
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Originally Posted by zohomoho View Post
I've had three different steinberg interfaces and never had any driver problems. Maybe I'm lucky. And Rev-X is a great verb to monitor with.
The problems with Steinberg are not stability. The problems are the low latency scores. In fact this is problematic with every company..... Besides RME with USB audio devices.
UAD has done well with it's Apollo and arrow series with regards to latency (via thunderbolt). Apogee has done decent as well (via USB, One, Duet, Quartet). Presonus has one box that is a contender (The Quantum has excellent RTL) Still. The fact that most major companies have not taken note and have not done anything to improve their round trip latency numbers over the years is..... Sad. Presonus is guilty of it, focusrite, tascam, Steinberg, audient, UAD (with their USB drivers) and just about every company out there. They seem to settle for generic drivers. Look at all.of these companies latency charts. There is almost no improvement over the years. Audient boasted that their new interfaces were going to have substantial increase in latency performance. And they posted results that were not correct. When they were out to the test this was revealed. And Audient fairly quickly updated their web page..... When they were called out.
Steinberg....I'm a fan of cubase. I've been using it for 15 years. But when it comes to interfaces. They are in the same league as their competition. Minus the top dogs who are vastly superior. Namely UAD and RME
Old 31st January 2019
  #69
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Quote:
Originally Posted by Dallon426 View Post
The problems with Steinberg are not stability. The problems are the low latency scores. In fact this is problematic with every company..... Besides RME.
UAD has done well with it's Apollo series with regards to latency. Apogee has done decent as well. Still. The fact that most major companies have not taken note and have not done anything to improve their round trip latency numbers over the years is..... Sad. Presonus is guilty of it, focusrite, tascam, Steinberg, audient, UAD (with their USB drivers) and just about every company out there. They seem to settle for generic drivers. Look at all.of these companies latency charts. There is almost no improvement over the years. Audient boasted that their new interfaces were going to have substantial increase in latency performance. And they posted results that were not correct. When they were out to the test this was revealed. And Audient fairly quickly updated their web page..... When they were called out.
Steinberg....I'm a fan of cubase. I've been using it for 15 years. But when it comes to interfaces. They are in the same league as their competition. Minus the top dogs who are vastly superior. Namely UAD and RME
This is why my UR824 standalone and is connected via ADAT to RME RayDAT. Works like a charm.
Old 1st February 2019
  #70
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Quote:
Originally Posted by Dallon426 View Post
The problems with Steinberg are not stability. The problems are the low latency scores. In fact this is problematic with every company..... Besides RME.
UAD has done well with it's Apollo series with regards to latency. Apogee has done decent as well. Still. The fact that most major companies have not taken note and have not done anything to improve their round trip latency numbers over the years is..... Sad. Presonus is guilty of it, focusrite, tascam, Steinberg, audient, UAD (with their USB drivers) and just about every company out there. They seem to settle for generic drivers. Look at all.of these companies latency charts. There is almost no improvement over the years. Audient boasted that their new interfaces were going to have substantial increase in latency performance. And they posted results that were not correct. When they were out to the test this was revealed. And Audient fairly quickly updated their web page..... When they were called out.
Steinberg....I'm a fan of cubase. I've been using it for 15 years. But when it comes to interfaces. They are in the same league as their competition. Minus the top dogs who are vastly superior. Namely UAD and RME
I'm a UAD customer but if you look at that thread hear on Gearslutz where the guys test latency for most interfaces, you'll see that the higher end Presonus stuff is beating RME. Impressive to me. A lot of factors can impact latency and I don't pretend to understand all of it. That's why a DSP system like UAD or Metric Halo is appealing for tracking.
Old 1st February 2019
  #71
Quote:
Originally Posted by sirthought View Post
I'm a UAD customer but if you look at that thread hear on Gearslutz where the guys test latency for most interfaces, you'll see that the higher end Presonus stuff is beating RME. Impressive to me. A lot of factors can impact latency and I don't pretend to understand all of it. That's why a DSP system like UAD or Metric Halo is appealing for tracking.
Yes, I was one of the people who initially tested the Presonus Quantum. That is a good interface. However I was mainly talking about USB interfaces. Presonus falls way behind with their Studio line. I had a UAD Arrow and it had decent RTL results. However the RME Babyface pro had better results than the TB3 Arrow.
I really want to like UAD. If I had a professional studio I would buy a few apollo x units and a bunch of plugins and call it a day. I think UAD is a great company.
I was hoping they were going to release Apollo X Twin interfaces with updated chips. I think a lot of people were expecting that. The main issue I have with UAD is their DSP chips are really weak. And unless you have the top of the line gear, you will run out of dsp power really quick. I used the arrow and could only run two plugins (Mic pre and compressor) on it at a time. The downside of UAD is that their plugins can also be pricey. Pros and cons.
Old 1st February 2019
  #72
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Quote:
Originally Posted by Dallon426 View Post
Yes, I was one of the people who initially tested the Presonus Quantum. That is a good interface. However I was mainly talking about USB interfaces. Presonus falls way behind with their Studio line. I had a UAD Arrow and it had decent RTL results. However the RME Babyface pro had better results than the TB3 Arrow.
I really want to like UAD. If I had a professional studio I would buy a few apollo x units and a bunch of plugins and call it a day. I think UAD is a great company.
I was hoping they were going to release Apollo X Twin interfaces with updated chips. I think a lot of people were expecting that. The main issue I have with UAD is their DSP chips are really weak. And unless you have the top of the line gear, you will run out of dsp power really quick. I used the arrow and could only run two plugins (Mic pre and compressor) on it at a time. The downside of UAD is that their plugins can also be pricey. Pros and cons.
Yeah, the Arrow is a joke IMO because it has too few chips. Buy a rack unit and its a different story. I won't even mess with a Twin as the main interface.

I bet this Steinberg will work great for a lot of people. That spec is a bit over the top.
Old 1st February 2019
  #73
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Quote:
Originally Posted by weezul View Post
This is why my UR824 standalone and is connected via ADAT to RME RayDAT. Works like a charm.
My MR816x is connected to my RME HDSPe AIO via ADAT.

Best of both worlds.
Old 1st February 2019
  #74
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Quote:
Originally Posted by weezul View Post
This is why my UR824 standalone and is connected via ADAT to RME RayDAT. Works like a charm.
I've been thinking about a similar upgrade, but there's one thing I can't remember about RME. How was direct monitoring with RME cards compared to Steinberg's? Once getting used to direct monitoring, I don't feel like going back.
Old 1st February 2019
  #75
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Quote:
Originally Posted by dariva View Post
I've been thinking about a similar upgrade, but there's one thing I can't remember about RME. How was direct monitoring with RME cards compared to Steinberg's? Once getting used to direct monitoring, I don't feel like going back.
I've never used it on either to be honest. I assume you mean monitoring directly through TotalMix or URMix?

Honestly I work entirely in the box, Pro Tools native. I can use 32 buffer with the RayDAT, and stack plugins with no perceivable latency to any performer in the last 5+ years. For instance, I track with ProQ 3, Massey CT5, L2007, KramerTape and the Native Instruments RC-48 is my normal vocal strip.



I can't be bothered going back and forth between another app just to have no/low-latency monitoring. That's a big reason of why I love the RME so much, I don't have to. I can track all day, and overdub on the most complex sessions all within Pro Tools at a low buffer and the CPU never moves, and no one has ever complained about latency (unless it's an obvious error on my part, with poor plugin choice!!)
Still have to put buffer to 128 for instruments in pro tools, but this is a well-documented pro tools issue. Any standalone app version of any virtual instrument works at 32 samples with no problems. To be honest even at 128 buffer in PT, no one has complained of latency either.

I think the one time I used the RME TotalMix for recording/cue mixes was a jazz album on location, yep took my desktop machine for two days haha.

In general though, TotalMIX is incredible. I use it to route my Audient Mico back to pro tools inputs 17+18, rather than the usual 35 and 36 they come through on spdif over adat. Very handy if you're facing the I/O limit of Pro Tools Native. Again, this extra step adds no perceivable latency.

Headphone sends are set from there as well, I use totalmix to send Pro Tools outputs to ADAT inputs of the UR824 for the two headphone jacks on the unit, and the other 4x output jacks go to a headphone mixer, for 6 discrete ITB headphone mixes all controlled from Pro Tools.
Old 5th February 2019
  #76
Deleted 47d171f
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Steinberg has in my opinion the best software, but their interfaces have always been bad.Really strange, why not hire some pros Steinberg. If I were Steinberg I would sell this 32 bit interface for 1000 dollars get the price down. This way more people will buy it.Also other manufactors will.. also come out with 32 bit interfaces within a year.
for cheaper if they are smart and they! are.But it is great! Finally 32 bit. I need to hear it though. Because I learned some things.

Focusrite clarett 8pre sounds great and clear at 96khz but no better at 192khz
Presonus studio 1824 Sounds the same whatever rate you put it at
Steinberg UR44 all the same on all rates/small difference
RME AIO better but not as clean as the Focusrite/at 96khz
RME Fireface all the same/A little clearer or something at 96khz/Nothing at 192khz

So what will this sound like..At 32 bit 192khz. I wonder.

Strange: Remember back in 2007 I would have to record at 44.1 16 bit so a whole song would work now I can make a whole song in 192khz 24 bit on my mac mini late 2014/things are changing

But at the end of this I want to say a thing. Steinberg Cubase is the best software.I really want this interface but I think the price is a little too high. I would have to test it first with 10 tracks at 32 bit 192khz.Maybe someone could do this? 20 tracks no plugins.

Have a nice days guys. This is great 32 bit
Old 6th February 2019
  #77
Quote:
Originally Posted by Deleted 47d171f View Post
If I were Steinberg I would sell this 32 bit interface for 1000 dollars get the price down. This way more people will buy it.
If it's worth the asking price or not remains to be seen/judged. But by the pure looks of the components, assembly R&D etc. that must have gotten into it, I'm pretty sure a price of 1k dollars would end up in a loss for every sold unit. The more units sold, the greater the loss.
Old 6th February 2019
  #78
The average person cannot tell a different between sample rates. This has been proven time and time again.
Old 6th February 2019
  #79
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Quote:
Originally Posted by Dallon426 View Post
The average person cannot tell a different between sample rates. This has been proven time and time again.
And it's proven that we can't hear the full range of sounds produced even at 24 bit. I'm not really clear on why anyone thinks we'd need 32. This product's main reason for standing out seems to be a solution to no one's problem.
Old 6th February 2019
  #80
Yes 16 bit 44.1
That is what I record at and I have tried various bits and sample rates. But the difference is negligible
Old 6th February 2019
  #81
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Quote:
Originally Posted by sirthought View Post
I'm not really clear on why anyone thinks we'd need 32. This product's main reason for standing out seems to be a solution to no one's problem.
It could be to give people even more headroom to avoid clipping or bringing up the noise floor. I'm guessing perhaps another reason would be how it 'transforms' to floating point processing within the DAW.

Or it could be that it didn't cost that much extra to get it done.

But yeah, I agree it's seemingly a solution to a non-problem.
Old 6th April 2019
  #82
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Anybody with experience of their high end console preamps have an opinion on how they compare to something like the Metric Halo preamps?
Old 7th April 2019
  #83
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Quote:
Originally Posted by weezul View Post


I can't be bothered going back and forth between another app just to have no/low-latency monitoring. That's a big reason of why I love the RME so much, I don't have to. I can track all day, and overdub on the most complex sessions all within Pro Tools at a low buffer and the CPU never moves, and no one has ever complained about latency (unless it's an obvious error on my part, with poor plugin choice!!)
Still have to put buffer to 128 for instruments in pro tools, but this is a well-documented pro tools issue. Any standalone app version of any virtual instrument works at 32 samples with no problems. To be honest even at 128 buffer in PT, no one has complained of latency either.
In Cubase/Nuendo, you can switch direct monitoring on and off from the DAW. No need to set up the the UR824 additionally.

Thanks for sharing your experience! Very impressive indeed.
Old 8th April 2019
  #84
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Quote:
Originally Posted by sanjari View Post
Anybody with experience of their high end console preamps have an opinion on how they compare to something like the Metric Halo preamps?
I've used Yamaha consoles and their preamps have never caused me concern. I usually was really pleased. I'd say the Metric Halo ULN 2 and 8 pres are really nice and clean as well. Maybe a touch nicer than the Yamaha's but it kind of depends on the application. Neither company is really trying to impart a sound with their preamp, so it's a bit hard to say what has the edge.

Of course, if you want more character and color, neither might be on call, but I'd guess what Yamaha has done for that might be pretty cool.
Old 3rd May 2019
  #85
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I was going to get this because it had the digital io I wanted.
But then I read the manual and you can’t use aes/ebu and all the adat at the same time , I hate these stupid limitations.
Old 5th May 2019
  #86
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Powerbrick = worthless product.
Old 8th August 2019
  #87
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All this talk about thunderbolt

TB1 offers more than enough data bandwidth for hi-res audio. You guys know that TB is meant to stream multiple peripheral devices. Essentially its designed so you bring your laptop home and plug into a more powerful box holding bigger graphics cards etc, and stream the data between laptop and that box hosting more powerful components than the laptop. multiple 4k video streams, etc, etc.

audio is no problem.. there shouldn't be any argument about tb2 vs tb3... tb1 is overkill for audio as it is.



has anyone had hands on with this? I'm interested in maybe using this with an Aurora n
Old 13th August 2019
  #88
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Quote:
Originally Posted by BrainCheck123 View Post
All this talk about thunderbolt

TB1 offers more than enough data bandwidth for hi-res audio. You guys know that TB is meant to stream multiple peripheral devices. Essentially its designed so you bring your laptop home and plug into a more powerful box holding bigger graphics cards etc, and stream the data between laptop and that box hosting more powerful components than the laptop. multiple 4k video streams, etc, etc.

audio is no problem.. there shouldn't be any argument about tb2 vs tb3... tb1 is overkill for audio as it is.



has anyone had hands on with this? I'm interested in maybe using this with an Aurora n
exactly.. I use my UAD in bootcamp now, which are all tBolt 2, with a simple 2 to 3 adapter..Big deal. I am sure you can do that with this Steinberg device.
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