Driver Installation.

Currently, the AudioSystem EWX 24/96 comes with drivers for the following operating systems: Windows 95 (incl. different Service releases), Windows 98 (incl. SE), Windows ME, Windows 2000 and Windows NT4. Before installing, you must determine which operating system you are using. The operating system and version number can be found in Windows Control Panel under System Properties.
Here for example, we see the version Windows 98 Second Edition.
At this point we recommend using the card with Windows 98. This current version offers some system additions that have positive effects on audio/MIDI software functionality. Better timing and a higher general performance are the results qualities, which have a lot of value for you as a musician. Therefore: Its worth it.
In the following driver installation description <CD> stands for the drive letter of the CD-ROM drive, in which you placed the AudioSystem EWX 24/96 driver CD.
Installation in Windows 98 (SE). When the AudioSystem EWX 24/96 is installed, Windows 98 recognizes the card as a new hardware component and displays the following screen.

Click Next.

Choose Search for the best driver for your device (Recommended) and click Next.
Mark Specify a location:, enter the path <CD>:\Drivers\Win9x\ and click Next.
Alternatively you can select the path to the best driver for your EWX 24/96 by clicking on Browse.
You should also click Next when this screen is reached.
To complete the installation click Finish.
Windows now installs the driver for you, documenting the process with several installation screens. At this point nothing else should occur. If during this process you are unexpectedly prompted to do something and you are unsure how to proceed, it is usually best to just press the Enter key. If Windows asks for a driver file again, re-enter the EWX 24/96 CD-ROM folder given above. It may also be the case that a few other Windows features need to be installed

14 AudioSystem EWX 24/96

along with the card (e.g. if this is the first sound card installation for your system). For this eventuality, please have your Windows CD at hand. After successful driver installation the software installation set-up should start automatically. If this is not the case then start the set-up from the EWX 24/96 CD. <CD>:\Applications\Windows9x_ME\EWX 2496\Controlpanel.exe Follow the instructions on the screen. There shouldnt be any problems. In any case you must install the EWX Control Panel in order to gain anything from reading this book further. The other software isnt necessary but its enjoyable and practical.

Continue reading on page 17.
Uninstalling the Driver in Windows 95 and 98. If you would like to remove the drivers from your system, it is best to do so in the Device Manager before removing the card from your PC. Mark the AudioSystem EWX 24/96 and Remove it - thats it.
The software can be removed from your system just as easily. Call up Add/Remove Programs in the Windows Control Panel and locate the programs that are to be deleted. Select them one after the other and each time click Add/Remove.
Driver installed this is what it looks like. After the driver has been successfully installed, you should verify that everything is functioning properly with your Windows 9x system. In the Device Manager you get an overview of the installed and detected hardware components on your computer. The Device Manager is found in the Windows Control Panel under System.
This is how the window should look if everything has been installed properly. In the picture, the header Sound, video and game controllers is opened. You can do this by clicking the small + symbol on the left hand side.
The Multimedia Settings. To finish up you should check your systems Multimedia properties and adjust the audio (e.g. system sounds) playback correctly in the Windows Wave-Mapper. Open the Multimedia Properties (Windows Control Panel > Multimedia) and choose AUDIO. For audio playback the EWX 24/96 places several drivers at your disposal. If you would like to use the cards analog outputs, then choose EWX 24/96 WavePlay Analog here, otherwise EWX 24/96 WavePlay Digital.
The output through the Wave-Mapper is the standard choice for simple multimedia players or for Windows system sounds.
For recording the best driver to choose is the EWX 24/96 WaveRec Mixer. You probably wont need this setting as you normally have to choose the specific driver in the recording software anyway, but it doesnt hurt and there is no choice no driver. Further information to the specific drivers can be found starting on page 41.
If you would like to use another card with a wavetable synthesizer or a software wavetable for MIDI playback (usually MIDI files) together with the EWX 24/96, then take a look at the so-called MIDI Mapper properties (MIDI). If the MIDI output settings have been changed to the EWX 24/96 MIDI interface during the driver installation, then choose the preferred settings here again.
The output through the MIDI-Mapper is the standard choice for simple multimedia players.
Should you choose the EWX 24/96 MIDIdriver for playback, then the MIDI files, which are played over the MIDI Mapper from Windows, will be routed to the optional MIDI kit for the EWX 24/96. This allows you to use external components to create the sounds. Please note. All of the above settings typically have no influence on MIDI playback while using common sequencer programs.

The Card Connections and their Application.
After your audio cards successful installation we now come to the most important part the connection of usable devices and their matching software settings.
One thing to mention first: The goal in the development of the EWX 24/96 was to create a soundcard with the least amount of extras allowing the focus to be placed on the sound quality. The AudioSystem exuberates a sense of purity with which you can be certain: Incorrect usage is next to impossible and you obtain the maximum quality all the time so have fun!
Overview. The AudioSystem EWX 24/96 is equipped with stereo in-and outputs for both analog as well as digital components. Analog devices (like an amplifier, tape deck, active loudspeakers or mixer) can be integrated using the RCA jacks. For devices with digital hook-ups there are the optical connectors they work using the S/PDIF standard and allow for a completely loss-free 1:1 transfer of audio signals in all relevant resolutions.
Connector options at a glance. Additionally you have the option to connect a MIDI adapter kit (optional accessory) and the TerraTec phono PreAmp (also optional) to the included slot hook-up. The connector uses the standard PC gameport format. But the configuration is only for the use of the above-mentioned optional accessories, not for the use of a joystick. Connecting a joystick is, however, not dangerous.
The Analog Outputs of the EWX 24/96.
The EWX 24/96 analog outputs work with a line level of 10 dBV or +4 dBu. Connect your active loudspeakers, auxiliary input from your amplifier, or a mixer here.
The Basics. The AudioSystem EWX 24/96 is equipped with 2 high quality analog outputs in RCA jack form (RCA). They are mentioned in the software as 1 stereo pair, but can be regulated separately. The accompanying audio driver is represented with the name EWX 24/96 WavePlay Analog. The playback volume level for this driver can be managed using the WavePlay Analog controller. This is also the controller for software driven audio signals (like DirectSound, MME, GSIF and ASIO). The output volume of all (in or connected to the card) signals can be managed using the Analog Out controller. The output level can also be switched between -10 dBV und +4 dBu in the EWX Control Panel (more to that later).
Safety Instruction. Please remember to switch off all (analog) devices before connecting them. This is to avoid the danger of an electric shock even a weak one - it also protects your speaker membranes and your hearing from sudden signal spikes. For digital devices, the volume of your playback system should at least be turned to low.
Stuff Worth Knowing The stereo output pair is surely the most important part of your soundcard. Connect your preferred listening device here active loudspeakers for example, or a free input on your Hi-Fi-system (but please dont use the Phono input, because its routed to another controller!), or a studio/DJ mixer board. The EWX 24/96 outputs operate using normal line/level controllers, which means the cards voltage output is as a rule compatible with all known consumer or studio deAudioSystem EWX 24/96 31

vices. The specifications -10 dBV or +4 dBu comes from the sound studio world, and represent the Volume (analog level) that the card puts out. +4 dBu is the professional setting, as it works with a higher level and therefore to simplify it suppresses distortion. But should you hear frequent distortion during playback then the EWX 24/96 output level needs to be reduced: first by switching to -10 dBV in the EWX Control Panel software, and then reducing the master volume if necessary. Continual exposure to level overload can cause damage to connected devices. And in case of possible distortion due to signal overload there is a multi-colored LED above the controller to monitor the situation clearly. If the signal strength rises between -1 dB and -3 dB then the yellow light warns you. Should the red light appear then you are clipping the signal because it has reached the limit ( -1 dB). You have found the right setting when the LED blinks yellow now and then.
Analog Inputs of the EWX 24/96.
The EWX 24/96 line inputs allow you to adjust their sensitivity. You can switch between -10 dBV and +4 dBu and also have a gain controller to get perfect settings and insure the optimal use of the 24 Bit converter. The Basics. The AudioSystem EWX 24/96 is equipped with 2 high quality analog inputs in RCA jack form (RCA). They are mentioned in the software as 1 stereo pair, but can be regulated separately. The accompanying audio driver is represented with the name EWX 24/96 WaveRecord Analog. The input level sensitivity can be switched between 10 dBV and +4 dBu in the EWX Control Panel. 10 dBV is quite common in home studios ( here the signals are relatively quiet , the input adjusts by using a higher sensitivity). Even hifi components normally use this level. +4 dBu is typically used in professional studios (the components themselves create enough fuzz that the sensitivity needs to be set lower). If a connected devise doesnt deliver a strong enough signal, you can use the gain controller (left in the EWX Control Panel) to raise the level in 0.5 dB steps. This utilizes the low distortion analog pre-amp.
And in case of possible distortion due to signal overload there is a multi-colored LED above the controller to monitor the situation clearly. Yellow light signalizes an optimal level (-3 dB - -1 dB) and at the red light you have reached the limit (signal overload). The Analog In controller in the EWX Control Panel mixer (the second pair of controllers from the left) defines the portion of the already digitalized signal, which is sent directly to the analog output. So please note: this controller has no effect on the signal strength (input sensitivity) when recording.

Signal Routing through the EWX 24/96

EWX 24/96 WaveRec Analog

EWX 24/96 WavePlay Analog

EWX 24/96 WaveRec Mixer

Analog In
Analog In Gain Analog In Digital In WavePlay Analog Analog Out

Analog Out

Digital In

Digital Out

EWX 24/96 WaveRec Digital
EWX 24/96 WavePlay Digital
Connecting and Recording from a Record Player. At the moment, it is very hip to archive and restore vinyl LPs and recording. With the AudioSystem EWX 24/96 you are best equipped for high quality recording. When connecting record players, there are a few particulars that you need to know and we will tell you about them in the following. You cannot directly connect a record player to an audio card such as EWX 24/96 because record players technically limited by the system send out a useful signal that is too low and extremely unbalanced. Therefore, it is absolutely necessary to interconnect an amplifier (HiFi amplifier or a special phono-amplifier with optimized equalizer). If a HiFi amplifier is used, then there is usually a TAPE Record output(!) that you can connect to the AudioSystem EWX 24/96. We ourselves offer a small but fine pre-amp for vinyl enthusiasts. The TerraTec phono PreAmp, which, with its high quality anti-distortion device as well as level adjustments, is well equipped to work with different recording systems. The TerraTec phono PreAmp can be connected simply to the second EWX 24/96 slot connector (for power supply). For the output a mini-jack is used for connection to a standard soundcard. Professional music stores offer adapters from mini jack to 2 x RCA. Software for digitizing and editing your recordings is included with the EWX 24/96. The program WaveLab lite for example, is optimized for editing large files and designed to be user-friendly, even for beginners. However, customary audio editing software alone is not completely suitable for tasks related to sound restoration. Along with the normal functions such as editing, equalizing (working with the equalizer) and

34 AudioSystem EWX 24/96

volume control, there are other functions that you need such as a de-noiser, descratcher, loudness maximizer as well as types of special spreaders and softeners. Last but not least, the ability to burn CDs would be desirable. All of these functions are contained in specialized software which you can obtain, for example, from the following leading manufacturers:
Algorithmix Dartech Diamond Cut Productions Sonic Foundry Steinberg Microphone.
www.algorithmix.com www.dartech.com www.diamondcut.com www.sonicfoundry.com www.steinberg.net
Please note, that the inputs on the EWX 24/96 dont support microphones, not even so called phantom powering (48 V for the power supply). These typically have a 6.3 mm jack or 3-pole XLR jack so save yourself the time and money on the selfmade RCA adapter. If you are planning on recording using a microphone and want professional quality (e.g. spoken word, singing, or acoustical instrumentals), then there is no way around acquiring professional hardware. Dedicated microphone boosters or mixing units with the corresponding inputs and AUX Send paths (or subgroups) can be purchased at any music store. If you would like to use the EWX 24/96 in connection with a Speech Recognition System, then you need to have a microphone with its own amplifier. There are also separate, battery-powered amplifiers you can connect between a microphone and the EWX 24/96 input.

AudioSystem EWX 24/96 37

Stuff Worth Knowing Digital Cable. Also the transfer of audio material over the fiber-optical cable can contain some small unnoticeable mistakes. Still you should consider choosing a cable of high quality and not too long: from more flexible plastic up to 1,5 m, to less flexible (more rigid) cable up to 5 m. Audio differences with digital cables seem improbable at first glance, but they can happen nevertheless. This is proven, among other things, by the fact that error correction algorithms are obviously used more frequently at some times than at others to correct cables of differing qualities. In any case these audio changes are usually so minimal that you need to be careful not to mix up the myth with the reality. If you are interested: there are many somewhat entertaining militant newsgroups dealing with this subject on the Internet ;-).
AES/EBU. Devices using the AES/EBU interface cant normally be run over the S/PDIF port - the ambitious tinkering in the hopes of a pure adapter solution will lead nowhere. Because the AES/EBU protocol is nearly identical to S/PDIF and the transmission essentially only differs in the signal strength, you can make your own converter with just a little soldering.
Backup. The digital interface of the AudioSystem as well as the accompanying software cannot be used for backup on DAT. In principle, this can be done, however - cheaper backup options such as CDs are common today and are less time intensive.
The Internal Digital Input.
In addition to the optical digital ports, the AudioSystem EWX 24/96 offers an alternate internal connector for the digital CD ROM drive output.
The Basics. On the EWX 24/96 board there is a pin connector with accompanying jumper. With this jumper you can set an external S/PDIF signal with the so-called TTL level, which most CD ROM drives send in. This jumper determines which digital port on the card is active either the externally accessible optical interface, or the internal one mentioned here. Simultaneous use of both connectors is not possible.
Jumper Settings and Internal Digital Connections. J1, sets the Digital Input Source: 1-2 External Input (optical) 2-3 Internal Input (TTL or S/PDIF electrical) J2, sets the Internal Digital Source Format: Open CD-ROM audio, TTL level Closed S/PDIF electrical J9, Internal Digital Input (CD-ROM Audio, TTL level) J10, Internal Digital Output (S/PDIF electrical)
A signal sent over the internal connecter is regulated as described in The Digital Connectors on the EWX 24/96. Please read the appropriate section starting on page 36. The synchronization settings should also be taken into consideration.

The Software.

The TerraTec Team has spared no expense or effort to bring you a software package that really has something going for it. It gives you a program which allows you to. Configure and steer the AudioSystem EWX 24/96, listen to all important (and a few unimportant) audio file formats edit recorded and imported audio data and sequenzing on a professional niveau and otherwise have fun.

You could say: complete. And the best of all: The program is powerful enough to give you professional features and options for all your needs. No fooling and (almost.) no fluff. That, by the way, you find additionally on the AudioSystem EWX 24/96 CD. In the folder HOTSTUFF which is a TerraTec tradition we have gathered what we consider to be the best and most useful audio share- and freeware programs in order to give you enough stuff for hours of fun and practical tools to work with.
Now on to it: after the software installation you will find assuming you have installed all components the following programs, that we would like to present to you here in overview. You can find more detailed information in the respective softwares help files. Have fun!

The Drivers.

The AudioSystem EWX 24/96 offers you a whole range of somewhat different drivers to record and play audio material. All driver names start with EWX 24/96 and end with a number in parenthesis. The drivers support all bit rates between 8 and 24 Bit and all common sample rates between 8 and 96 kHz. The sample rates are not interpolated, that means that the EWX 24/96 switches automatically to the sample rate that an application is currently using (a recording for example). This avoids loss in quality due to sample rate conversions.
A view of the playback driver (e.g. Steinberg WaveLab).
The drivers support another, special data transport format, called 32 Bit unpacked. For the curious: audio data streams are sent over the PCI bus to the main memory. The PCI bus operates on 32 channels (32 Bit). So a PC usually pays special attention that all of its resources get used for the task at hand, and so for the transport of 8 Bit audio files they are bundled into fours (4 x 8 = 32), bei 16 Bit and 16 Bit data into bundles of two (2 x 16 = 32) so that they can be sent along (diagram top). With 24 bit audio material the situation becomes more complicated to process: all of a sudden there are only 24 harmonious bits there - then 8 are missing completely. The 24 Bit packed method solves this in the following way: the CPU (lets say a Pentium) splits the 24 Bit stream into multiples of 32 (diagram middle). That costs power and doesnt have to be. Using the 32 Bit unpacked method the rest of the 24 data-bits are filled with zeros by the hardware and sent by the driver as an appropriate 32 Bit packet. Most of the software on the market today supports this resource saving method (diagram bottom).

The EWX Control Panell.

The EWX Control Panel is - next to the drivers by far the most important software in the package. Here you can, as the situation requires, take command of your EWX 24/96, switching and sliding, controlling the sensitivity and the volume.
How does the EWX Control Panel work? The EWX Control Panel, or the routing (signal flow inside the card) of your EWX 24/96 is quite simple to understand. You have already been exposed to many of the possible settings in the capital concerning the card connections therefore the following are only supplementary usage notes, lets go!
The Mixer Area (above). The colorful light organ in the panel doesnt just bring pretty colors into play, but also serves primarily to help maintain a clean in- and output signal environment: Above every pair of controllers you find the accompanying responsibility title. One controller commands and controls one signal - overlapping (e.g. through different settings combinations) doesnt come into play. The increasing or decreasing of signals can be achieved using the dB display above each controller. The Analog In Gain signal can be raised in 0,5 dB steps up to +18 dB. The other controllers allow you to lower a signal in 0,5 dB steps all the way down to -43,5 dB. The setting 45 dB activates a hardware driven Gate function, which can be compared to the mute functions. Note: this value (of only 45 dB) is actually quite sensible, because it a) allows the full available linear slider area to be used and b) a really applicable control is made possible. If you would like to sink the signal strength even further, you can achieve this in the software being used, which generally makes more sense. Hover with the mouse over one of the colored VU meters, and the signal level appears in dB after a short time. The mute switches are capable of stopping the signal from passing any further. The stereo link function (active by default) makes the simultaneous control of both the left and right side of a signal possible. In order to reserve your system resources you, the VU meter can be shut of with a simple right mouse click. Analog In Gain and Analog Out additionally feature a multi-colored clip LED. This optical control simplifies the recognition of possible signal overload. If the signal strength rises between -1 dB and -3 dB then the yellow light warns you. Should the red light appear then you are clipping the signal because it has reached the limit ( -1 dB). You have found the right setting when the LED blinks yellow now and then.

A more in-depth description of the software can be found in the accompanying online documentation.

MusicMatch Jukebox.

Just as every new programmer starts his first program with Hello World, every soundcard traditionally comes with a media player. :-) The MusicMatch Jukebox is more though and for that reason included in the TerraTec packet: it allows you, besides playback support for many audio file formats, to digitally extract audio CDs. The program can, if desired, write the files, with title information in MP3, format directly to the hard drive - and uses the original Fraunhofer Codec for the best MP3 quality there is. A detailed explanation of the software can be found in the accompanying online documentation.

AudioSystem EWX 24/96 51

FruityLoops Express.
Harvest a really quick-ripening software sound crop from FruityLoops Express: this extremely intuitive, easy to use compositions tool allows you to arrange your sound clips and build them into complex rhythms and uses the fast DirectX-Driver from the EWX 24/96. Additionally there are diverse real-time effects and support for DirectX plug-ins. And on top of all that: a perfectly integrated software synthesizer (TS-404)! Through the Playlist Editor complete songs can be created and exported in WAV file format.

Emagic MicroLogic Fun.

In our packet we also have the pleasure to present you with Emagics Logic, one of the most successful audio/MIDI sequencers, and in the updated version even more powerful. And for the few who dont yet know about this widely used software: Logic allows you to record and comfortably edit MIDI and audio files. Logic offers, among others a note-display, diverse MIDI and audio editors as well as being able create a soundtrack for video. Especially in the audio field you can await a few extras from MicroLogic AV, like for example the complete support for recording, real-time effects and steering in 24 Bit/96 kHz. New in this version, by the way, is the EWX 24/96 ASIO driver support, as well as the possibility to use the Logic Audio Device Setup manager to create your own driver combinations for MicroLogic.
A more in-depth description of how to use the MicroLogic Fun software can be found in the accompanying online documentation. The original handbook from Emagic can furthermore be printed out the documentation is found on the EWX 24/96 CD in PDF format for the Acrobat Reader.

There once was a time, when music was made by hand. :-)

BuzZ ThE tRaCker.

A freeware toy - with this card?! What is that supposed to be?!. you might ask yourself. However, we have decided to include this software addition because its free as in free. On the other side we want to introduce it to you because it doesnt really have anything to do with the traditional clich about freeware sound tools. Our Freaky Interaction and Work Enjoyment department has selected to give you BUZZ, a full-blooded musician with a good sense of harmony and teacher of this somewhat other way to create sound and music beyond the common sequencer models.
BUZZ takes you back to the roots of computer supported popular music with modern optimised code for use in Windows. BUZZ is a music program that resembles the layout and steering common to the so-called Trackers of the mid 80s like the Commodore AMIGA, and later under DOS PCs. In BUZZ music is programmed, which at first glance appears worse that it actually is: you choose an instrument (here: generator) and program patterns. A pattern consists of a string of 1 or more notes. These patterns are then arranged in a track list to compose a complete song (arrangement).
A special feature of BUZZ: the patterns arent only notes - steering information for the instrument is also included. And these instruments dont have to be simple WAV players; there can be physical modelling/models, virtual analog synthesizers, effects and a lot more. There is also the option to route external sources as well as VST plugins into the signal. In other words: this thing is super and that cant be measured by its price ;-). BUZZ lives on due to its own open programming code, which allows other developers to create their own generators and extras. The internet is clearly the best medium for dissemination of information (and songs and generators and and and.). Once youve gotten a taste of BUZZ then youll want to check out the many BUZZ pages on the web, for example:
english english english german
www.buzz2.com welcome.to/buzzards/ buzz.lotek.org/ www.terratec.net/panorama
If you like BUZZ, you can take part in the development of this broad-based project. How to do that can be found on the following Internet page
http://www.fh-zwickau.de/~maz/products/german/index.html low).
There is no handbook in the sense of the word. But as a seasoned (or newborn?) freak you wouldnt want to read one anyway ;-). The TerraTec team has included a German language tutorial. The file TUTORIAL DEUTSCH.BMX can be opened with BUZZ. Simply push the F10 button in the program.

Note. BUZZ is a pretty freaky tool. As freeware it exists thanks to its many thousands of fans worldwide. BUZZ is not (and hopefully never will be) finished, that means, the software is permanently in the development phase. It can cause errors and crashes, or create frequencies that are ugly and even hurt. The TerraTec team offers no support and takes no responsibility for BUZZ the use of this program must be taken at your own risk but adds to your sense of self-confidence, knowing you have accomplished something. Every BUZZer has been down this path because its worth it. Make it so. ;-)

The HOTSTUFF Directory.

On the CD-ROM for the AudioSystem EWX 24/96 we have collected together a large number of other programs, tools and files. Its well worth a look.
Many of the programs we present here are shareware. Please support the shareware principle and pay the amount that the authors ask if you like the programs. Thank you.
Tips and Valuable Information.
About Hard-drives and Necessary Space. So now we have a new recording device with which we can suddenly realize a higher quality than was previously possible. Naturally there is like with most good things in life a hitch: as quickly as the quality rises, the necessary drive space increases correspondingly. You should therefore keep in mind; by your 24 Bit recording youll need an appropriately large and fast drive. To get a general idea what amount of data your drive has to be able to handle in order to maintain such a high standard of quality, here is a small easy formula you can use to factor the average requirements.
Desired number of tracks x resolution in BIT x sample rate in Hz divided by 8 divided by 1024 and divided again by 1024 = MB/s
So a stereo track (thats 2 tracks) at the highest resolution is expressed with the following equation in Megabytes per second:
2 x 24 x 96000 / 8 / 1024 / 1024 = ~ 0,55
With a little over a half a MB per second the hard drive requirement reaches 33 MB in one minute. It gets really interesting when you start to think about the data transfer involved in a multi-track recording: with 8 tracks then according to the figures youre going to need 2,2 MB per second. For a normal arrangement with about 20 tracks (wherefrom well say 16 are played simultaneously) then you can count on needing to handle around 5 MB per second. And we are obviously only dealing with playback here. Of course were not trying to talk you out of using the high resolution. You should consider however, depending on the song and the situation you may want to demand less from the workload of your system. In many cases the difference between 48 kHz and 96 kHz isnt really such a major factor. Give it everything ya got! doesnt always have to be. ;-)

The DMA Buffer Transfer Latency.
In some programs, besides the usual choices of drivers, you will be confronted with the buffer size. What may appear at first somewhat complicated, later reveals itself as very useful, once you understand what it all means and its not really all that difficult. The number and size of the audio buffers determines just how fast an application (e.g. a software synthesizer) can access the Windows driver. The fewer the buffers and the smaller their size, the faster the card can react. You can see it for example, if you wiggle the controllers in a software synthesizer while its playing or move the positioning marker in a hard-drive recording program during the playback. The faster the better, they say, if it just didnt have a limitation: which values should be used depends on the system - and on a slow PC fast values leave their mark as skips and hops during playback and recording. So pay attention for drop-outs, and raise the values if you have to.
Differing Sample Rates / SR Conversion. The AudioSystem EWX 24/96 utilizes no sample rate converter. This typical soundcard component normally ensures that signals in different sample rates can be played together, because the sample rates are all interpolated to one frequency.
To describe the function of a sample rate converter here is an example (please note: the following scenario is not possible with your card): A soundcard is synched from a DAT recorder at 48kHz (external). With an audio editor you are working on a file with a frequency of 44.1 kHz. While youre listening to this file to test it Windows registers some action with a system sound (22.05 kHz). All of these sample rates resound at the same time, and with 48 kHz the frequency set externally. Everything sounds normal, although the audio files arent really being played at their own frequencies. Actually though, you can hear a difference if you listen closely. Thats because the sample rate converter alters the files in real-time. The quality suffers as a result of this admittedly practical converter as good as it may be. With the AudioSystem EWX 24/96 we are not dealing with a normal soundcard in its common form, and this shouldnt freak you out. Dont be shocked should it prove to be the case that half of your songs are accidentally (as this comes into practice very often) recorded with an interpolated sample rate. We have therefore decided against integrating a sample rate converter. Instead the sample rate is dynamically synched to the appropriate data flow thats being used. Without even so much as a tiny loss in quality just like it is in professional systems. But beware: if you try to play multiple files with various sample rates at the same time you will receive an error message.

Product Reviews TapeOp Magazine, January 2006 INSPIRE 1394
By Chachi Jones Here is the box that makes good on the promise Digidesign's Mbox never did. The Inspire 1394 is a truly affordable, great sounding, easy to use, entry-level recording interface bundled with a suite of user-friendly software. It has the capability to record four channels at a time, selectable from two XLR mic with phantom power, two hi-Z 1/4'' instrument, and two RCA jacks, the latter of which are switchable between line-level and RIAA-filtered phono for direct recording from turntables. The Inspire's stereo outs also come in three flavors (all unbalanced): RCA, 3.5 mm mini, and headphone mini. The outputs support zero-latency monitoring, and you can mix between input and playback tracks. For a FireWire audio interface, four ins and two outs may seem like a scant amount of I/O channels until you realize that PreSonus designed the Inspire to be daisy-chained, allowing you to expand to 16 simultaneous input channels using four units. The unspoken premise is that each member of a band could have their own Inspire for song writing at home, and then when the group gets together to rehearse, they can daisy-chain their units together to create a legit multitrack interface. Even if the daisy-chain idea doesn't take off, the Inspire is still a hard bargain to beat at its $200 street price. There are some sacrifices PreSonus made in order to meet that price point. First, the absence of balanced outputs in favor of unbalanced RCA may turn some people off (though its not a big deal for me and my desktop studio). Also, the fact that levels are adjustable only through a PreSonus software control panel (and not with any external knobs) might make technophobes a little wary; but considering that cheap volume pots are often the weak (and easily breakable) link in the design of many budget interfaces, PreSonus probably realized
PreSonus Audio Electronics | 7257 Florida Blvd, Baton Rouge, LA 70806 T 225.216.7887 F 225.926.8347 | www.presonus.com

Product Reviews

they'd be better off without them. The inputs channels also have switchable, built-in limiters that can take some of the pain out of misjudging level settings. Anyway, the bottom line is that it sounds greatmuch better (and considerably less buggy) than my last FireWire interface that cost me twice as much. I think PreSonus did an amazing and innovative job at creating an expandable and extremely affordable FireWire interface that doesn't compromise their reputation for superior sounding audio gear.

Presonus Inspire 1394

http://www.soundonsound.com/sos/jul06/articles/inspire.htm?.
Presonus Inspire 1394 : July 2006

In this article:

Hardware And OS Requirements Inspiration Or Perspiration? Specifications Thumbs Up Alternatives
Preamp & Firewire Interface [Mac OS X/Win XP]
Reviews : Computer Recording System
Published in SOS July 2006 Print article : Close window
Presonus Inspire 199 pros
Compact and easy to use. Affordable. Includes a pair of good mic amps. Good selection of bundled Mac and PC music software.
With their latest Firewire interface, Presonus promise high audio quality at an affordable price, thanks to the use of software controls instead of physical knobs.

Paul White

May throw up a background monitor whine with some Mac G5 machines.

summary

The Inspire is a very neat combined preamp and interface for small systems, and can be used in multiples of up to four units where more I/O is needed. I particularly like the software control panel and the generous library of bundled software.
The Presonus Inspire 1394 is a compact Firewire recording interface that works at up to 24-bit/96kHz and provides four simultaneous inputs with a stereo output. Two of those inputs are balanced mic preamps with switchable phantom power and peak limiting, while the other two are on RCA phonos that can be switched from line level to RIAA phono for direct connection of a record deck. The Inspire 1394 works under Mac OS X or Windows XP, and as current versions of those operating systems support multiple audio interfaces, you can use up to four Inspire 1394s at the same time to provide more I/O where needed. Perhaps the most unusual thing about the Inspire 1394, though, is that while it has all the usual connections, it has no visible controls. That's become Presonus have managed to add more features while keeping the hardware manufacturing costs down by moving all the necessary controls to a software control panel. One distinct advantage of this approach is that the control setup can be saved so that when you return to a project, you can be sure all the settings are exactly as they were first time around. The Inspire 1394 can be powered from an external adaptor or parasitically from a six-pin Firewire socket, and works with all the common recording software. Cosmetically, the burger-box-sized Inspire 1394 exudes desirability with its chunky but clean lines. The front of the unit houses the mic inputs plus two high-impedance instrument jacks for the direct connection of guitars or basses; the microphone and instrument preamplifiers draw on Presonus's analogue design expertise and are claimed to offer low noise and low distortion. Other than an LED that shows you the unit is alive and has digital sync, that's it for the front panel! Around the back are unbalanced RCA phonos for inputs 3/4 and for the stereo output, but there's also a stereo mini-jack (3.5mm) output and a further 3.5mm headphone socket. Other than that, there are just two six-pin Firewire sockets and a power input, so you can plug in the supplied adaptor if your computer only has a four-pin Firewire socket and thus doesn't provide power. As I mentioned, the Inspire's uncluttered appearance has been made possible by putting all the necessary knobs and switches into a software control panel. Like most interface control panels, this allows you to set up the sample rate and buffer size (helpfully shown on the Windows version in terms of milliseconds of latency on the Mac you set this up in the usual Core Audio way), but you can also set the input gain, switch the phantom power and limiter on and off, engage a 10dB preamp boost, and adjust headphone volume and main output level. There is also zero-latency input monitoring, with adjustable balance of the input source against the DAW output. All settings can be saved for reloading at a later date. This is, on the whole, a really good idea, but I still feel more comfortable with a physical analogue master level control when using active monitors, so that I can turn them down in a hurry if anything goes wrong or if the software crashes in a mode that feeds peak-to-peak white noise to the output! To be fair, modern operating systems are pretty robust in this respect but nevertheless.

information

199 including VAT. Presonus +215 0658. +926 8347. www.presonus.com
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The Inspire can be used to connect a turntable to your computer, thanks to its RIAA phono inputs.
The Inspire can be used to connect a turntable to your computer, thanks to its RIAA phono inputs. The Inspire can be used to connect a turntable to your computer, thanks to its RIAA phono inputs.
Given the very attractive price of this unit, the bundled software that comes with it seems all the more enticing. The inclusion of Steinberg's Cubase LE is no surprise, and provides a perfectly competent sequencing platform for Mac and PC, while there's also Sony's PC-only Acid XMC for those who are more into loops. You also get Minnetonka's Discwelder Bronze for CD and DVD authoring, some Discrete Drums recordings of live acoustic drum parts for use in your own songs and 25 effects plug-ins. On top of this there's also around 3GB of drum loops and other samples on the included DVD. You really could just add a mic and a pair of headphones and start recording an album though a MIDI keyboard would also be a distinct advantage. Hardware And OS Requirements
Windows PC with Firewire port, 900MHz Pentium or Athlon CPU (1.5GHz recommended), 256MB RAM (512MB recommended), Windows XP.

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Mac OS X Mac with 800MHz G4 (dual 1GHz recommended), 256MB RAM (512MB recommended), Mac OS 10.3.7 or later (10.4.2 or later recommended).
Inspiration Or Perspiration?
I tested the Inspire on my Mac system running OS 10.4.3, where the unit was recognised by Core Audio without fuss. The control-panel software installed first time, after which I was in business. In most respects, the Inspire worked flawlessly and intuitively, but there was a problem with my particular Mac G5 albeit one which has also tripped up a few other interfaces and at least one USB microphone. This manifests itself as a low-level digital whine, which can be heard over the monitors but isn't recorded to your sequencer. Isolating the Inspire's output using a stereo DI box with ground lift immediately solved the problem, so it seems to be due to a ground loop between the Firewire cable and the audio ground, caused by the way the G5 is wired internally. My MOTU 828 MkII interface works well enough in the same setup, but it is common knowledge that some G5s cause monitoring noise issues with some audio interfaces, whether Firewire or USB. Often the problem can be solved by switching off Processor Idling, for which you need to download the CHUD utility from the Apple web site. CHUD is part of a free Developer Tools download, but unless you're unlucky enough to have one of these awkward G5s, you shouldn't need it.

Almost all of the Inspire's features and options are set up via the software control panel.
Having the controls on screen is in many ways more friendly than having them on the box, as you can put your interface wherever it is convenient to do so, and don't need to adjust anything. What's more, the settings are remembered by the software control panel so you can call them up later. The mic preamps are gratifyingly clean, and though not esoteric, they perform as well as the preamps on a decent mid-price mixer and gave me no cause for concern. I liked the software-controlled internal mixer for zero-latency source monitoring, which again is very easy to use, while the free software and samples provide a thick layer of icing on the cake! The Discrete Drums samples are particularly useful if you need the sound of real drums, as they are multitrack versions of real performances in various styles, and very good they sound too. Specifications
Up to 24-bit, 96kHz recording. Driver formats supported: Core Audio (Mac), WDM and ASIO 2.0 (PC). Dual microphone/instrument inputs. Dual line-level (-10dB) inputs via stereo RCA phonos, with optional RIAA turntable setting. Stereo line-level outputs on RCA phonos or 3.5mm stereo TRS jack. Stereo headphone output on stereo 3.5mm TRS jack. Two IEEE 1394 (Firewire 400) ports. Auxiliary power input jack. THD+Noise: <0.008 percent. Signal-to-noise: >95dB.

Thumbs Up

With the exception of the background monitoring noise problem that my Mac G5 seems so keen on bestowing on selected hardware, the Inspire worked perfectly, installed easily and sounded very clean indeed. The software control panel is a great idea and it really works, while the bundled software is very welcome, even if not quite all of it works on both the Mac and PC platforms. It's also good to know that you can use multiple units to get more I/O if necessary, though if you know in advance that you're likely to need more I/O, there may be better solutions available to you than stacking up four Inspires. Over the past few years I've come to really respect Presonus gear and the very affordable Inspire lives up to the design standards they've set with their more expensive products. The interface market is pretty keen at the moment so I won't say that this is the only contender for your money, but if you need a compact four-in, two-out solution with a pair of decent mic preamps built in, the Inspire has to be on your shortlist. Alternatives
The market for small recording interfaces is a crowded one, especially if you consider USB as well as Firewire devices. Among the many devices on offer, M-Audio's Firewire Solo is a four-in/four-out interface with one mic preamp and one high-impedance instrument jack; it also boasts balanced, full-sized jack outputs and S/PDIF I/O, but lacks the Inspire's soft limiting and RIAA turntable input. The same company's Fast Track Pro delivers up to four-in/four-out functionality via USB, with two mic preamps that double as instrument inputs, S/PDIF and MIDI I/O and balanced outputs, but again, no limiting or RIAA input. Edirol's UA25 is a USB interface with two mic preamps which, like the Inspire's, have phantom power and built-in soft limiting; it also has MIDI and S/PDIF digital I/O and full-sized output jacks, but no turntable input, and is only a two-in/two-out device. Finally, Terratec's Phase X24FW is a little more expensive, but offers two-in/four-out recording via Firewire with two phantom-powered mic/instrument preamps, analogue insert points, S/PDIF and MIDI I/O and support for 192kHz, although again there's no limiter or RIAA input. One feature of the Presonus Inspire that appears to be unique in this bracket is the ability to use up to four of them simultaneously.

Published in SOS July 2006

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