![]() The Audiomedia II card is a so‑called NuBus card, so you can't put it into any Mac Classic or LC. Remember, too, that Digidesign are established masters of computer audio and you can be sure that the sound quality is fully up to standard. A thousand pounds, give or take, may seem like a lot for a circuit board that slots into your computer and you never see again, but it really is incredible value for money compared with many of the alternatives. Once you have acquired your Quadra 650 (most other Mac II models will work fine too, but check with your dealer), you need the hard disk recording engine, which in this case is the Digidesign Audiomedia II card. In a year's time it will be, and all the software and plug in cards may be compatible by then, but you can buy all the equipment you need to do this type of work now and the system might pay for itself in a year, so why wait? There are bargains to be had and work to be done. You will of course be aware that Apple are bringing out a range of PowerMacs which use a new processor, and you may think that the existing range is now obsolete and behind the times. It's a Quadra 650 and it works just fine. How on earth can anyone find their way around when IBM compatibles only allow eight letters for each file's name? I use my Mac for word processing, database, spreadsheet, accounts, graphics, photographic manipulation, MIDI sequencing and hard disk recording. What, no IBM? Not for me, I'm afraid - the hard disk I use for general business purposes has over 3500 files on it. The first requirement is a decent Apple Macintosh computer. You could pay a fortune for an AMS AudioFile or DAR SoundStation, but now you don't have to, although these top of the range machines will repay every penny of the large investment required in high‑end professional work. HardwareĪssuming you have an adequate multitrack recording setup already, whether analogue or digital, you will need some additional items to move into the world of hard disk audio. You'll also save money in CD mastering and achieve a smoother flow of production between studio and compact disc. But with this equipment, and using the right techniques, you'll be able to achieve things that you couldn't before, and you'll be able to work to a higher standard. What I am about to explain is how to integrate hard disk audio into your existing tape‑based setup, and also how to make the software work together to maximise the benefits and overcome the inevitable problems - when you mix audio with computers, studio operations are never going to be as simple as they used to be with good old‑fashioned analogue tape. The megabuck price tag of hard disk audio was destined to come down to levels that are affordable by the owner of the average personal studio. David Mellor takes the mystery out of hard disk recording and CD pre‑mastering, with an expanation of how to get up and running with a Mac and three popular software packages.
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