Looking for Multi I/O - Audio Interface for SONAR X1

So, I have an ECHO GINA 3G now and I think I finally outgrew its usefullness.  When I was tracking in stereo or mono (one instrument at a time), this is a great little box.

But, now, I want to track an instrument with multiple inputs (multiple mics and DI). I see that the LAYLA 3G has the specs to do what I need and I like the idea of the BOB (saving getting behind the PC to re cable connections).

However, the LAYLA 3G is quite old and in this technology, unless it is VINTAGE, I feel that something bigger, better and less expensive has been released that will meet my needs.  I would like to have both XLR and 1/4 inputs. I need more than 2 XLR inputs which I think the LAYLA is limited to.

I have some external PREs that I patch using XLRs, I don't use a mixing desk and pretty much mix ITB and need this interface to transfer audio to and from the real world.

Any suggestions would be appreciated.  My budget isn't limitless but if there is some real value in spending bigger bucks, I am open to suggestions.  

I only need 24bit by 44.1Khz audio (for now) and don't need to record 16 tracks at a time but maybe 5-8 (with ambient mics).

Thanks in advance,
Jim

What is your budget?

If you have the money and you want higher quality conversion I would direct you to the Lynx Aurora or the Black Lion converters. Cost will be in the $1800 to $2500 range.

Sorry, forgot to say, the inputs will take a regular 1/4 inch guitar plug. The high and low impedance is adjusted in the software for the card.

The Layla is a great piece of gear. 

The only thing I would worry about is if you are going to update toa  new computer in which it does not have PCI slots for the Layla.

The sound and technology of the Layla is still very very good, as well as low latency performance.

Lance

MM...

I know that theorically that would make them better but I was wondering what are the real deal specs?  Is the BETTER an opinion or is there some logic that makes them better (components, design, etc)?

Thanks,
Jim

Jim,

the difference is real but small.  Many pros use the Lynx for major releases - Goldfrappe is the first that comes to mind.  There are more expensive converters, but you are really paying out the wazoo for those.

Nothing wrong with the lower cost converters these days - the Octa capture, the stienberg/yama 8x8, TC Konnekt, RME.  They will all do the job and I bet there are plenty of pro engineers that would be hard pressed to pick it out and your average garden variety listener wouldn't hear any difference, much less pick out the better.  Everybody uses the same converter chips - there are only a couple of companies to choose from.  it is the electronics and clock around the chips that make the difference.  Just like preamp debates, the differences are small but important.  Two really nice things about going ahead and getting high-end stuff is 1).  you won't be tempted to upgrade your mid-level gear and 2) there is confidence associated with the better stuff, in that you'll say "it must be me, not the equipment."  You dont' worry yourself sick trying to get the last 5% of performance out of you cheaper stuff since the better equipment thrives there.

If I was in your position I'd get the lynx and not have to worry about it.  The 8x8 unit is $2000 and they have a new usb card you can slide in for a couple hundred more.  Or ADAT Card.  Or FW (which I've heard is kina balky, tho the newer USB is supposed to work well).  Or AES pcie slot for your computer.  It is a very flexible, upgradable system.  Note, you'll have to get external preamps, which ain't cost effective but allows you to get what ever quality you want.

The newest RME piece is supposed to have great specs and RME is known for their drivers.  A solid bet, tho I'd check the reviews for it.  It would be about the same.

A step up is the Prism Orpheus at $4500.  Mastering grade quality conversion, FW and 4 great preamps.

Any of those can take you to pro levels.  Of course, a pro could get excellent results using one of the sub -$1000 units, too.  Like everything, it is a trade off.  But more money = less work to get there.

AT


 2) there is confidence associated with the better stuff, in that you'll say "it must be me, not the equipment." 

I used this analogy when I was buying golf clubs and indeed, it was the player not the gear that was the problem.

Middleman..

I wasn't doubting your recommendation when I asked:

What makes the converters more HQ on the Lynz models versus the Octa Capture? 



Just looking for more information.


I do know that I like the idea of having at least 8 XLR pre-amps and the audio circuits in one unit if there is anything out there that can do this.


I liked the AURORA 8 but it looks like I have to purchase a PCIe card for the I/Os.. sort of like a TAIL coming out the back of the PC.


I used to have the SCOPE stuff and that was a real PITA... 


but, if the lynx is that much better than the competition, I guess it's the price of admission...


I am really confused here on what to get.


What are the big players names in the audio game:


RME
ROLAND
Sonicore
Lynx
M-Audio
Echo

any others that I could investigate?

Thanks,
Jim

Jesse,

I have to admit that the convenience of the Octa-Capture is interesting. Old Craig though has been known to be biased toward CAKEWALK over the years (now a Roland stable occupant).
 
But I will read his review with an open mind. I guess the issue is going to be QUALITY for me since it seems that the more expensive units may be "you get what you pay for" on the audio side.

Thanks,
Jim

jkleban, you should doubt my reccomendation.....everyone's for that matter. When it comes to gear, trust but verify.

With the Lynx Aurora, yes, you are going to need to get an interface card. There is one on ebay now for $260. I went the cheap route to get to eight channels which was to buy used, two of the Lynx Two A cards, each has 4 in-out. I got into 8 channels of Lynx for $1200 this way. These are older designs but still top end conversion that a lot of mastering houses use. The Aurora is the company's current model both 8 and 16 channels.

The challenge with all convertors, even the top ones, is that they produce a sound which is far removed from the analog sound that so many people desire. That was the idea behind the Black Lion line, to create a more analog sounding device. I really would like to step up to those someday. The Lynx are used quite regularly today in rock, hip hop, electronica music, metal. A lot of the Protools crowd are starting to use them in commercial music.

I have checked out the AT 4047, had it for a day and it is great mic for a tenor male or female vocal. Unfortunately it didn't work so great on my vocal which is baritone and I went another route which was the Neumann TLM49. Finding a good personal mic is such a pain i.e. buying then selling them off if they don't work. The keepers for me have been the Neumann which has a great top end but a little light on the low end for which a Pultec plugin goes on vocal tracks to thicken them up. The SM7 is just a great mic for rock or louder voices, a little grainy on the top end but it's a great all around sound (also a great guitar mic). The Oktavas sound amazing using 3:1 spaced pair on acoustic guitar and the 4033/4050 are really great for mid-side recording. The 57, well everyone should have at least one for guitars and snare. Sorry to get off on mics but I just came through a heavy experimental stage on numerous microphones and mic techniques and thought I would share.  Good luck with finding some convertors.

http://www.soundonsound.com/sos/apr08/articles/qa0408_5.htm

Check this out.

Scott,

Does the Audiofire Pre 8 need firewire?

Jim

Hi:
I asked Echo that several months ago and I  seem to remember that you needed to hook it up once via Firewire to set up some things, but not after that. Seems like you could just keep it using Firewire, but having one interface for two units works pretty well under ADAT.
jkleban


Scott,

Does the Audiofire Pre 8 need firewire?

Jim