The No.1 Website for Pro Audio
 All  This Thread  Reviews  Gear Database  Gear for sale     Latest  Trending
$6,000 to spend on 32 ch of conversion
Old 14th October 2013
  #1
Lives for gear
 
Septik's Avatar
$6,000 to spend on 32 ch of conversion

Hi there slutz. I'm currently needing to upgrade my system to 32 ch i/o and have about 6k to spend. My options at the moment are to but 2x apollo 16 interfaces from UA as i have all of their plugins and the dap is always nice (as well as the console software) but i feel like this budget might be nearing the breakthrough to some more high-end audio quality conversion. So what would you say if you had 5-8k to spend on conversion and needed 32ch in my shoes? What good contenders are there and how would they compare to apollo in terms of quality? Not interested in hearing apples and oranges comments about if i need the dsp etc. since i already have a Mac loaded with uad-2 quad cards so i won't lost my plugins, and i can decide for myself whether the extra dsp is worth it to me vs. the quality of any contenders. I just need to hear about some of those contenders! Thanks so much, in advance
Old 14th October 2013
  #2
Lives for gear
 
GeneHall's Avatar
I'm in the same boat man.
I use mostly UAD2 plugs with my UFX which some can bag on but it works for me right now.
Well, til now.
I kind of put the Apollo, Orion 32 & UFX in the same proximity for more reasons than the differences...I've been researching Prism and Apogee ( which personally I do not care for). I'm gonna follow this thread and wait for the "BigBoys" to chime in, in between all the separatists opinions about the gear they own and know, and have strong opinions on. For as interesting as the empassioned opinions are with this gear topic, I find most opinions are loosely based on the experiences with only 1 device stacked up with rhetorical opinions about competitive products in the same price bracket that they themselves research. Mostly pricing, which I find really sheds little light in the topic for me.

Which has it's merits but hard to base a factual posture on.

The O32 + a 10m looked like a genuine step up however the Apollo appeal for me would be more for live applications than in studio.
It's possible I'm looking for 2 different rigs.

I can't decide on this topic at all. Until then my UAD2 and UFX make satisfactory results for really good sounding demos. But I would not chance Master recordings using UFX at this stage, I'm out if my depth on the conversion topic.
Be well and thank you for posting a query I myself have failed to word well enough to post.
Old 14th October 2013
  #3
Lives for gear
 
herecomesyourman's Avatar
You could spend $2,995 on an Antelope Orion.

Or the whole six on an upgraded Apogee Symphony with 32 I/O

Those are both probably the best options for the money...I'm not really down with the Apollo personally, I think RME makes finer converters for much less money as do both of these companies listed above.

A couple Lynx Auroras found on the used market might be had for cheap as well...I would just get a UAD card later if you really want one. (Though to be fair, I have never been the biggest UAD fan.)
Old 14th October 2013
  #4
Lives for gear
 
Aaron Miller's Avatar
I just got a 16x16 Symphony I/O setup and it's really great. I'd say it's on par with other high end conversion. Pretty easy to use as well!
Old 14th October 2013
  #5
Lives for gear
 
Septik's Avatar
Is a 32 i/o symphony available? I haven't been able to find anything in-store with over 16ch. Also, what are my options to get 32 ch. using RME? Sorry if these questions are dumb, I've done some research on both of these products in the past and come up confused about how they would work to get 32ch.

I've also heard nothing but bad things about the antelope's drivers.. I think I'd rather go with the 2x Apollo16's over the orion at this point, until i hear that the audio quality is much better than the apollo's and the drivers are smooth.
Old 14th October 2013
  #6
If you really have money to burn by all means get a Burl, supposedly they're the greatest thing going but an Antelope Orion will run you around 3000 and work very well. OR, don't buy converter hype. It doesn't make a difference.
Old 14th October 2013
  #7
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by Septik View Post
Is a 32 i/o symphony available? I haven't been able to find anything in-store with over 16ch. Also, what are my options to get 32 ch. using RME? Sorry if these questions are dumb, I've done some research on both of these products in the past and come up confused about how they would work to get 32ch.

I've also heard nothing but bad things about the antelope's drivers.. I think I'd rather go with the 2x Apollo16's over the orion at this point, until i hear that the audio quality is much better than the apollo's and the drivers are smooth.
You buy the 16 I/O version for $4K and then spend $2K more for a 16 I/O expander card you can have pre-installed, or you can slot in yourself.

But yes...you can make a 32 channel Symphony.
Old 14th October 2013
  #8
Gear Maniac
 

Quote:
Originally Posted by herecomesyourman View Post
You buy the 16 I/O version for $4K and then spend $2K more for a 16 I/O expander card you can have pre-installed, or you can slot in yourself.

But yes...you can make a 32 channel Symphony.
I believe it's $3k for the 16x16 expander module. In addition to the $4k of the base 16x16 unit, that's $7k. And even so, I believe it is the best deal on the market for conversion at that price range
Old 14th October 2013
  #9
Gear Nut
 
Animalcloset's Avatar
 

I'd go with Apogee.
Since the release of the Symphony, I believe the historic negative views of Apogee have been put to bed. For example; people used to say that Apogee did something weird or strange to the mid range that they didn't like and that the low end was exaggerated. Yeah sure I own a Symphony so I'm biased, but it's not like the older converters... which I still liked (AD16x/DA16x).
Old 14th October 2013
  #10
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by Joshua Wise View Post
I believe it's $3k for the 16x16 expander module. In addition to the $4k of the base 16x16 unit, that's $7k. And even so, I believe it is the best deal on the market for conversion at that price range
It's 2K from what I've seen...but if the price is hiking it's because we're moving into the fall.
Old 14th October 2013
  #11
Lives for gear
 
GeneHall's Avatar
Quote:
Originally Posted by Animalcloset View Post
I'd go with Apogee.
Since the release of the Symphony, I believe the historic negative views of Apogee have been put to bed. For example; people used to say that Apogee did something weird or strange to the mid range that they didn't like and that the low end was exaggerated. Yeah sure I own a Symphony so I'm biased, but it's not like the older converters... which I still liked (AD16x/DA16x).
I'd love to be proven wrong but I found the Apogee gear of recent past sounded exactly as you described. Mind you I only had lend of an Ensemble for just over a week to unscientifically a/b with the RME.
That turned me right off of Apogee. And really made me appreciate the stability and unobtrused behaviour and performance of the RME.
The Apogee drivers were just painful and it got to the point of just being too much wasted time not making music to frig around with a supposedly nice unit. Who cares if it's that big a time waster.

ALTHOUGH, the mp3 files created and sent out to the Apogee were more tolerable to listen to. I had always chocked that up to the blurry low mids and bloated bottom I felt the Apogee unit demonstrated against the exact same mix run through the RME.
That could also be attributed to my knowing the RME much much better.
I just think RME makes great converters and even though it's regarded by elitists as prosumer, if that indeed is true than so are the Apolloand the Orion 32.
Which I do not believe they are, in the right hands, any of these can make records.

For me, Apogee is not a "sound" I'm interested in or willing to invest in heavily just to potentially buy into more problems than I need, from a device or type of gear I should not hear working in the first place. and if I am to hear it, I'll take the RME "sound" over it every day of the week.

The Orion 32, what limited use I've had to get an idea of, was not significant enough difference to help me make up my mind as to where to go from the UFX. Most of you guys know way more than me on this topic, so I'll keep following!
Thanks for all the very informative posts.
Old 14th October 2013
  #12
Gear Nut
 
Animalcloset's Avatar
 

Quote:
Originally Posted by GeneHall View Post
...Mind you I only had lend of an Ensemble for just over a week to unscientifically a/b...
Well the Ensemble had a very underwhelming converter compared to the AD16x/DA16x... as does the Duet and Quartet compared to the Symphony for me (I ended up getting a babyface after I tried the Duet). I feel like that's the problem with Apogee; they make consumer stuff and pro stuff and lots of people don't realize what a gap there is between all of it.
I stand by what I said earlier. Listen to the Symphony... I really feel like the Apogee sound (if you can even call it that anymore) is translated a world and a half better through it.
Old 14th October 2013
  #13
Lives for gear
 
Septik's Avatar
Hmm... I'm definitely on the fence between 2x Apollo 16's and an expanded symphony. Has anybody a/b'd these guys? Or does anybody know of a listening room in Los Angeles area where I could go to a/b for myself? Another concern is this whole pro/consumer rhetoric that goes along with converters. If I'm spending this much on converters, I'd like to have something that appears more "pro" to clients, and the symphony seems to be considered higher in this regard by most of the people here. I'm not sure how prevalent this assumption really is in the field though.. I do know lots of pros use the a symphony, and the apollo hasn't made a huge name for itself in the recording industry yet.. Hmm, might need to get in to a/b to see if anything knocks my socks off from the symphony.
Old 14th October 2013
  #14
2 Lynx Aurora 16's... there are some floating on the classifieds for cheap. You could spend the left over cash on more toys?
Old 14th October 2013
  #15
Lives for gear
 
jrhager84's Avatar
 

I will die with my symphony...

Sent from my SAMSUNG-SGH-I337
Old 14th October 2013
  #16
Gear Maniac
 

Quote:
Originally Posted by Septik View Post
Hmm... I'm definitely on the fence between 2x Apollo 16's and an expanded symphony. Has anybody a/b'd these guys? Or does anybody know of a listening room in Los Angeles area where I could go to a/b for myself? Another concern is this whole pro/consumer rhetoric that goes along with converters. If I'm spending this much on converters, I'd like to have something that appears more "pro" to clients, and the symphony seems to be considered higher in this regard by most of the people here. I'm not sure how prevalent this assumption really is in the field though.. I do know lots of pros use the a symphony, and the apollo hasn't made a huge name for itself in the recording industry yet.. Hmm, might need to get in to a/b to see if anything knocks my socks off from the symphony.
I don't wanna seem bias here, but there was an entire thread a while back dedicated to Apollo vs Symphony, and literally every single person in the thread who listened to the audio samples agreed that the symphony was much better, except for the thread starter who is clearly in denial.
You can decided for yourself, Which one is the Symphony, which is the Apollo?
And yes, Apogee holds more weight in terms of the name

EDIT:
Don't get me wrong, I love a lot of UA stuff, but when we're talking about conversion quality ONLY, the apollo is definitely not the "best out there". Symphony comes pretty close to that.
Old 14th October 2013
  #17
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by Joshua Wise View Post
I don't wanna seem bias here, but there was an entire thread a while back dedicated to Apollo vs Symphony, and literally every single person in the thread who listened to the audio samples agreed that the symphony was much better, except for the thread starter who is clearly in denial.
You can decided for yourself, Which one is the Symphony, which is the Apollo?
And yes, Apogee holds more weight in terms of the name

EDIT:
Don't get me wrong, I love a lot of UA stuff, but when we're talking about conversion quality ONLY, the apollo is definitely not the "best out there". Symphony comes pretty close to that.
That's because the Symphony IS a much better design.

The Apollo is OK for a small or mobile work station if you heavily rely on UAD plugins since it's condensed. But it's not really a great converter setup for a lot of outboard, and/or a summing mixer/small format console.

FYI...the Orion is a better converter than the Apollo too...as well as the newer generation RME products (UFX/UCX/ADI-whatever the number they're on is). Metric Halo would be a good pick as well as a Burl Mothership (Though that's getting pricey.)

I would even pick up used Apogee 16x AD and DA converters over the Apollo...it's just not that impressive as an AD converter for critical situations. However for a small writing station it's a solid move if you are a UAD fan (which I am staunchly not...so don't think I'm claiming bias over not liking the Apollo since I'm not a fan of their plug line in general. I am seriously treating them like two separate things.)

I would rather stretch my budget a bit and buy Waves Platinum with the studio classics bundle tacked on around the same time I purchased an RME UFX personally...since you get everything they make essentially it works out to $35 a plugin.

The UAD stuff is usable, but computers are getting so powerful and cheap that relying on systems which are becoming outdated seems like a huge war of attrition to me (Thunderbolt II is already on it's way and most UAD stuff will have to move to enclosures as things transition for example since they're PCIe.) I could make a great PC and throw a relatively inexpensive DAW into the mix for less than a fourth of your budget...but if I buy a plugin bundle that works on both AAX and VST it won't matter which DAW I migrate to in five or ten years...since the odds are that company if it's large enough, will continue to update it's products for both PC and MAC systems.

Things like DSP systems were necessary back in the late 90's through the mid 2000's for some systems because high track counts at higher sample rates would suck up all the processing power. You couldn't use a lot of native plugs.

So the Apollo to me is kind of a missing link step...it's a good idea that would have been more powerful five or six years ago...groundbreaking ten years ago...and game breaking twelve years ago.

But if I'm trying to find a lot of usable tools in a bundle there are many companies who will give me an entire product line for a lot less today...and many newer generation computers which will run hundreds of instances of plugins native with virtually zero by way of latency.

Get some great converters which won't turn into an antiquated system in one to two years.
Old 14th October 2013
  #18
Lives for gear
 
SparkyCanada's Avatar
Quote:
Originally Posted by Septik View Post
Hmm... I'm definitely on the fence between 2x Apollo 16's and an expanded symphony.
Don't know if this important to you or not - with 2 Apollo's -> if 1 goes down for whatever reason - you can still carry on with the other....

Just a thought....

SparkyCanada
Old 14th October 2013
  #19
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by GeneHall View Post
I'd love to be proven wrong but I found the Apogee gear of recent past sounded exactly as you described. Mind you I only had lend of an Ensemble for just over a week to unscientifically a/b with the RME.
That turned me right off of Apogee. And really made me appreciate the stability and unobtrused behaviour and performance of the RME.
The Apogee drivers were just painful and it got to the point of just being too much wasted time not making music to frig around with a supposedly nice unit. Who cares if it's that big a time waster.

ALTHOUGH, the mp3 files created and sent out to the Apogee were more tolerable to listen to. I had always chocked that up to the blurry low mids and bloated bottom I felt the Apogee unit demonstrated against the exact same mix run through the RME.
That could also be attributed to my knowing the RME much much better.
I just think RME makes great converters and even though it's regarded by elitists as prosumer, if that indeed is true than so are the Apolloand the Orion 32.
Which I do not believe they are, in the right hands, any of these can make records.

For me, Apogee is not a "sound" I'm interested in or willing to invest in heavily just to potentially buy into more problems than I need, from a device or type of gear I should not hear working in the first place. and if I am to hear it, I'll take the RME "sound" over it every day of the week.

The Orion 32, what limited use I've had to get an idea of, was not significant enough difference to help me make up my mind as to where to go from the UFX. Most of you guys know way more than me on this topic, so I'll keep following!
Thanks for all the very informative posts.
RME makes GREAT products with fantastic stability. But the Ensemble is not even an old AD 16x or DA 16x Apogee. Those and the newer Symphony models are the flagships for a reason. They're really great products, but I will state that a UFX can hang with them for much less money.

The real advantage to an Orion Antelope is the higher track count at higher sample rates. 32 channels at 88.2K or 96K without any latency issues or having to sync up multiple converters is amazing at a $3K price range. While it's a fairly neutral piece that you wouldn't get giddy over from a sonic "color" standpoint...I think that working in higher sample rates and bouncing down is powerful and will yield cutting edge recordings if you're monitoring is pro level when you go to track, mix, or master.

Also since two can be run VIA MADI (lets say you use a newer generation RME MADI card to run two for 64 I/O) you could potentially get the RME driver stability and TOTAL mix system you love...AND 64 tracks at 96K...something not even Pro Tools HD can achieve with any of it's MADI based systems. (A truly high res large track count system for a console user.)
Old 14th October 2013
  #20
Gear Addict
 
DSPDiva's Avatar
 

No one buys the Apollos for their conversion. They buy it because of the UAD and because of the fact that you can track through UAD plugins. It's a pretty awesome idea, but you already have cards, so you don't really need it. The converters are pretty good, but they're not the best (as previously stated) If you're after the best in conversion, my vote goes for the Orion. I'll pick it over the Apogee any day. But let me give you a few more options. Listen for yourself and make your own opinions. We did a converter shootout, maybe this can help you decide.

Audio Gear Reviews - Recording - Converter comparison shootout
Old 14th October 2013
  #21
Lives for gear
 
Dutchy15's Avatar
Didn't read through the whole thread, but did anybody mention the Focusrite RedNet series yet? 2 RedNet2 devices would give you 32 channels of I/O and pretty much infinite expansion options. Don't know what the price tag on those would be, but the flexibility alone would be worth it IMHO (having 2 racks with a RedNet 2 and 16ch of mic pre each and taking them wherever you'd like to to record anything from some acoustic stuff on a remote site to a 32ch live multitrack.


Dutchy
Old 14th October 2013
  #22
Lives for gear
 
Septik's Avatar
The Orion would be a great bet if I weren't so worried about the OS.. Is it really that bad?? I've heard nightmarish things about spending weeks on the phone with support to get it running properly, and I absolutely HATE the downtime of troubleshooting, especially with something as essential as converters. Is it really that bad? Can any Osx users vouch from experience?
Old 14th October 2013
  #23
Gear Maniac
 

if you settle for the orion soundwise,why not just add a RME Madiface (usb)?
that should be quite stable, and you get totalmix (unfortunately without fx).
should fit easily in your budget. You could also buy the Orion and try it on it's own, and only add the RME if you run into driver-trouble.
i own neither of both, but to me it seems obvious if driver issues are your fear (which i understand).

edit: maybe i misunderstood - is the Orion said to be unstable in standalone mode? Basically 'herecomesyourman' already said what i just wanted to say...
Old 14th October 2013
  #24
Lives for gear
 
Fast_Fingers's Avatar
 

Antelope Audio ($3000) for conversion (unless you get two used Lynx Aurora 16s for a great bargain), Burl Vancouver ($2300) for mixing sum. If the Antelope's connection is not to your liking, an RME Madi. Maybe find a way to bargain two of your Quads for an Octo, or consider upgrading your computer or adding an expansion chassis.

Curious, though, what's in your room acoustics and monitors?
Old 14th October 2013
  #25
Lives for gear
 
Sir Chris's Avatar
 

Quote:
Originally Posted by DSPDiva View Post
No one buys the Apollos for their conversion. They buy it because of the UAD and because of the fact that you can track through UAD plugins. It's a pretty awesome idea, but you already have cards, so you don't really need it. The converters are pretty good, but they're not the best (as previously stated) If you're after the best in conversion, my vote goes for the Orion. I'll pick it over the Apogee any day. But let me give you a few more options. Listen for yourself and make your own opinions. We did a converter shootout, maybe this can help you decide.

Audio Gear Reviews - Recording - Converter comparison shootout
Not to go too far off topic but still in pursuit of debating which converters are great, right for the OP and others down the road, etc.

The link you posted. The BLA Red Sparrow converter seemed to retain the waveform the closest to the original waveform where the Lynx Aurora completely changed it.

Confused cause if the OP or others in the future looking back would be wondering the same thing. You would think the converter that retains the waveform closest to the original would be the most accurate/transparent one but Lynx is definitely considered one the best in the market and changed the waveform the most. I'm not sure I understand what happened or what it means. Can you explain?
Old 14th October 2013
  #26
Gear Addict
 
DSPDiva's Avatar
 

Quote:
Originally Posted by Sir Chris View Post
Not to go too far off topic but still in pursuit of debating which converters are great, right for the OP and others down the road, etc.

The link you posted. The BLA Red Sparrow converter seemed to retain the waveform the closest to the original waveform where the Lynx Aurora completely changed it.

Confused cause if the OP or others in the future looking back would be wondering the same thing. You would think the converter that retains the waveform closest to the original would be the most accurate/transparent one but Lynx is definitely considered one the best in the market and changed the waveform the most. I'm not sure I understand what happened or what it means. Can you explain?
Yes, the waveform that is the closest to the original means that after 50 loops, it was able to maintain the quality of the original. The Aurora didn't do so well. I personally don't think it's one of the best. Listen to the clips. Aside from the pictures, you can hear the degradation in quality. The Antelope Eclipse did really well as did the BLA of course and the Focusrite Forte also did really well even tho it's wayyyyy down there in price and I/O.
Old 14th October 2013
  #27
50 stages of AD/DA conversion is absolutely pointless and trivial,

It does not provide any valid indicator or parameter worth testing, besides proving the signal will eventually degrade, via scientific specifications and via the human ear.

ANY audio signal will degrade with that many generations, though ANY device/cabling. And it all degrades differently. Some more euphonic than others.

The fact that the Lynx degrades faster proves it's more transparent!

But I challenge you find me an application where you need to take the audio through;

AD/DA
AD/DA
AD/DA
AD/DA
AD/DA
AD/DA
AD/DA
AD/DA
AD/DA
AD/DA

x5
Old 14th October 2013
  #28
Gear Guru
 
Drumsound's Avatar
Quote:
Originally Posted by Septik View Post
The Orion would be a great bet if I weren't so worried about the OS.. Is it really that bad?? I've heard nightmarish things about spending weeks on the phone with support to get it running properly, and I absolutely HATE the downtime of troubleshooting, especially with something as essential as converters. Is it really that bad? Can any Osx users vouch from experience?
The Orion 32 is working fine on my Mac Mini, and sounding great.
Old 14th October 2013
  #29
Gear Maniac
 

Quote:
Originally Posted by Doc Mixwell View Post
...
The fact that the Lynx degrades faster proves it's more transparent!
...
Please explain this to me. That's a very very bold statement and needs explanation to be taken seriously
Old 15th October 2013
  #30
Lives for gear
 
GeneHall's Avatar
Quote:
Originally Posted by herecomesyourman View Post
RME makes GREAT products with fantastic stability. But the Ensemble is not even an old AD 16x or DA 16x Apogee. Those and the newer Symphony models are the flagships for a reason. They're really great products, but I will state that a UFX can hang with them for much less money.

The real advantage to an Orion Antelope is the higher track count at higher sample rates. 32 channels at 88.2K or 96K without any latency issues or having to sync up multiple converters is amazing at a $3K price range. While it's a fairly neutral piece that you wouldn't get giddy over from a sonic "color" standpoint...I think that working in higher sample rates and bouncing down is powerful and will yield cutting edge recordings if you're monitoring is pro level when you go to track, mix, or master.

Also since two can be run VIA MADI (lets say you use a newer generation RME MADI card to run two for 64 I/O) you could potentially get the RME driver stability and TOTAL mix system you love...AND 64 tracks at 96K...something not even Pro Tools HD can achieve with any of it's MADI based systems. (A truly high res large track count system for a console user.)
Thanks for that insight, I know you know this topic well. Reading your highly evolved understanding of EQ's is always informative as well.
I mainly create programme demos for songs that established artists and artists [we like], consider. Some might think they are release quality but not in my world. Simply perfected demos that leave no doubt about how we see a given tune.

I work at 24/88.2 most all if the time.

If I send something through to a Slipperman (or other producers, A&R etc), I need it to be perfect. Musically right on the money, and with sonic clarity .
I work with a couple of high profile guitar players who tend to view my RME as insufficient to produce records, which I don't try to. But I am affected by their perspective, particularly if it has an affect on work.

I mention this because the OP seems to have concerns related to his commercial viability in relation to his conversion, both for appearance sake and to improve his sonic structure.
I too have worried about this and always find myself going back to the RME because it's trustworthy and because of Totalmix. if I happen to need fast effects, it's there and ready to go.
Reading this, the RME MADI potential for expansion seems very frugile and based on my experiences, very reliable.




APOLLO quad-

Although I swear by the LA2a collection in my UAD2 system, I would only really look at an Apollo for live use or mobile tracking done quick and easy, with really nice plugs at my disposal.
As a composing room tool, perhaps. But again if I'm in composition mode, there is a fair chance I'm working with really good musicians who know little about interface/ computer issues and if they were to have a problem, it would stop work and interrupt something of potentially great value to us all.
RME is stress free and stable. A complete novice could find their way around Totalmix and setup a routing plot with great ease.

I might just give this whole topic too much air time in my head.

Orion32-
It was suggested to me that if I did choose to go this route, the O32 coupled with the 10m would be a truly "pro" setup. I took that more as an aesthetic selling point which I intuitively switch off to.
I don't have a white poodle, Saab or a Bang & Olufson hifi and only wear black turtleneck sweaters if I'm cold.
So if the investment in an O32+10m is supposed to impress others, but not offer a substantial sonic upgrade from my UFX then that's a deal breaker for me.

I have learned from this thread that I do need to re assess Apogee Pro gear.
their business model of late confuses me. I know they are a once highly regarded small company, however, with their products now ranging from utterly useless devices swaggering their brand, to the very pinnacle of professional tooling, it's no wonder they have presented a less than consistent image.
Their price points imho, are outrageous and further, the fact they limit their pro range to Mac, has had me think they would eventuate into the white poodle, Saab, Bang & Olufson, Mac class of manufacturer. with products geared at folks more concerned with aesthetics than those who relied upon them as solid product manufacturer of necessary equipment. I'm so happy to be wrong here, just saying, as a consumer, I'm sceptical of this company and it's lack if focus.

Forgive my poor sentence structures, am on a train with my wife headed to meet with Les Miserables composer Claude Schoenberg , should be a real treat listening to his stories related to creating a pure masterpiece.
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump