Drivers Asio Vs Wdm - Choix De Carte Son - Questions Techniques Diverses

[LE_Gui]

Voilà, le titre est explicite : quels sont les avantages et inconvénients des 2 drivers ?

J'ai entendu dire que les ASIO permettaient de diminuer les temps de latence.

Bref, entre ces 2 types de drivers, je ne sais pas trop quoi penser, donc qui peut donner des avantages et des inconvénients pour chaque type de driver ?

Merciiiiiiiiiiii

(Au fait, ça urge, mon GAS du moment en dépend un peu )

***EDIT***

Réponses trouvées, mais des commentaires constructifs sont tjs les bienvenus

Edited February 8, 2006 at 11:35 PM by LE_Gui

[LE_Gui]

Hop, des infos sympas là : Page 1 et Page 2

Petite recopie (me suis bien fait chier à tout trier d'ailleurs !), au cas où les pages vireraient, c'est un guide qui explique comment choisir sa carte son et comment fonctionnent les différents drivers, quel carte prendre pour quelle utilisation, pile-poil ce que je cherchais .

N'hésitez pas à consulter les pages originales, il y a quelques encarts que je n'ai peu insérer dans le post mais qui pourraient être qd même intéressants.

The "best" soundcard for your home studio

How to buy a soundcard or audio interface intelligently

by Tweak

The Bell rings, a fresh class of newbies usher in, eager to get started with digital recording. "My goal", starts Tweak, his quiet voice trying to rise above the hub-bub, "is to keep you from making a serious mistake".

"And save you money". A hush falls over the crowd.

Ok, lets go. People ask me all the time, "What's the best soundcard for my studio". You know, that's like asking someone what is the best car on the market, or which all night restaurant has the best coffee. "Best" is a 4 letter word; please don't ask me what's best, even if you can afford it (We'll start you with an Apogee Native Tools which lists about 8 grand). There is no universally acclaimed best soundcard. Best for what? PCs? Macs? For running Sonar? Cubase? For a pristine 3.6ghz 64 bit DAW or a lowly Pentium III 550? For a computer that has the notorious VIA motherboard chipset? For under $200? $500? $1500. For Win XP before SP2? For Mac OS 10.39 or OS 10.4?

Even with all that information, is there a definitive answer out there? Not really. Unless someone is whacked enough to buy every soundcard in existence, test them all on every OS/CPU configuration and have enough sanity left to recall the results. But we can steer you towards some of the better choices available today, armed with that info.

But you should know, up front: No matter what you choose, there will always be a risk that it won't work well on your system. Every computer is a unique environment of hardware and software, and one bad variable can make a $700 audio interface sound worse than an ancient AWE32. If you get advice from me or anyone on the forums use that knowledge entirely at your risk, OK? OK!

Audio Interfaces

Over the past few years, musicians have been opting for audio interfaces over standard soundcards. These may be either PCI or Firewire. The AI typically has a breakout box that sits outside the computer and a cable that is connected to either a PCI card in the computer or a USB or Firewire cable. On this breakout box are a number of connectors for cables that go to your instruments, mics, mixer or monitoring system. The conventional soundcard, on the other hand, just sits in the computer in a PCI slot, the cables hang off the back of the card.

The audio interface type of system is often preferred because the cables stay away from the fierce electrical fields that surround the modern computer. That argument does not hold a lot of water, and it doesn't bother the guys running hi-end RME and Lynx cards. But this argument does...

Tweak crawls under the desk in the classroom and lays on his back, pulls out a flashlight, rips off his glasses pulls out a magnifying glass and shouts out "How in the bloody heck are you supposed to read which is "In" and "Out" on this thing?". Ha! With a breakout box you don' have to lay on the floor under some desk to connect it up and you can move your noisy computer farther away--always a good idea when recording audio.

Audio interfaces also sometimes allow for balanced audio connectors instead of the unbalanced 1/8" stereo jacks one sees on most cards. If you want the cleanest possible recordings, then go with an audio interface that has balanced connectors. We'll get into that on page 2. For now, just note that balanced does make a difference, particularly if you need to run cables longer than 10-12 feet.

Digital Audio Converters

There are two parts to every audio interface/card that affects the sonic performance profoundly. The first are the software drivers that come with the card. The second is the quality of the digital audio converters (DACs) that are physically on the card. First, lets get to the DACs.

Time Out: If you have an audio interface do you need a soundcard too?

Answer: No. The audio interface will take care of all of the computer's audio functions. A PCI audio interface comes with a breakout box and its own PCI card. The Firewire audio interface does not need a card at all.

Most soundcards on the market have acceptable quality DACs these days, compared to a few years ago when you had to spend premium dollars to get good DACs. It makes sense if you think of your CD player when thinking of the quality of DACs. Early cd players had a harsh sound to them and were often considered "brittle". As a result of that criticism, audio engineers found ways to make the DACs sound better, with oversampling, error correction, interpolation and other ways to "smooth" the output. At the core of the DAC is a process called "sampling". The converter "reads" the analog incoming waveform and transforms it into numbers, or data. Once it is data, the computer can manipulate it in many different ways, store it on disks, merge it with other data, and so on.

The DAC determines how good the card sounds. Whether a card is USB, Firewire or PCI does not affect the sound per se. These are just methods of shuttling data. The DACs actually touch the sound. But there is more to a quality soundcard than just the DACs...

Someone shouts from the back row, "Tweak, dude, just tell me who has the best DACs so i can buy my card!" (Tweak suddenly turns red and veins start popping out of his tweakly neck) Hmm, there's that "best", that 4-letter word again, his voice rising to creshendo. "OK class, Mr. Newbie "gotsta know right now" wants to know the best DAC, can anyone help him?" Someone shouts out "Pro Tools!" Tweak ejects the person from the classroom like an umpire at the world series. The class nervously squirms as Tweak paces the aisles of the class. Anyone else want to answer that one? The someone in the front stands up and says: "The point is you can't hear a DAC without the audio going through a software driver. If a card has a great DAC and a crap driver it is a worthless card" Tweak smiles in delight and gives the speaker a gold star. Someone else shouts "Hey, that's not cool if soundcard makers actually release cards with crummy drivers, do they really do this Mr. Tweak? The Tweak looks down, searching for the politically correct words. Someone else yells out "Yes they do!" [i didn't say that.]

Professionals that are concerned with the quality of digital analog conversion may buy an outboard DAC that connects to a soundcard's digital input/outputs. These effectively bypass the DACs on the soundcard. Can you do listening tests on these DACs? Yes, but like all tests of this nature, your ultimate assessment is subjective. That being said, record a full mix and then record just its cymbal track. Listen to the quality of the cymbals alone, and then again in the mix. The DAC that best preserves the hi frequency shimmer and definition without smearing or artifacts can be considered better, given the rest is equal. This is one of the 1st places a bad DAC will mess up. You might also want to evaluate on the basis of warmth, fluidity and whether your ears "like" the sound.

Drivers

So what is a software driver, and how does it affect audio performance? The driver is the critical code that manages the traffic of data going from the cpu to and from the DAC. It organizes the data so the CPU can fetch it when the audio application says it is needed. There are certain rules the driver has to follow that are set by the operating system. The application and the CPU have to follow the rules, and if the driver interprets the rules properly, all will work. If there is a flaw on the application side or the driver side, things are going to mess up. If the poor CPU can't get the data the 1st time, it might try again. And Again. And Again. What just happened to your audio, dude, it stopped? "CPU overload, eh?" Wonder why companies are often finger pointing at each other when users protest? Hehe "Company Z's driver is is garbage", or "The problem is in Company X's application, we asked them to fix it but they have not responded". Sound Familiar? (Those still awake grunt in agreement)

So what does this mean in terms of buying a soundcard or audio interface?

It means to look for evidence that the product :

1. Has a driver for your OS. Never assume it does.

2. Has a driver that claims it works with your application, like Logic, Cubase SX or Sonar.

3. Has a site where you can download drivers

4. Has an updated driver within the last 6 months and supports the latest service packs and OS updates.

5. Looks like driver development is something they take seriously for your computer platform. A company may make great cards for PC and say "we have a Mac driver too!"

6. Looks like they have a cooperative relationship with software makers, with product bundles.

Drivers are very hard to perfect. What might work great on some machines, work's terribly on others. This is what makes the decision so maddening. If you are on a PC and Microsoft introduces a new OS, or changes direct X, then your soundcard may stop working well. It's like building a house in an area that has an earthquake every 3 years or so. Some motherboards actually get in the way of audio flowing to the CPU and if the driver is not aware of these issues, the audio will get hurt.

PCI vs. Firewire vs. USB

Q) What about PCi cards? Aren't they "old tech?"

Of course an old PCI card is old, and there are thousands out there, but they should all be avoided in a modern machine. It was probably built for an older operating system, older PCI data busses and older CPUs. However, modern PCI cards are the fastest audio devices on the planet, faster than Firewire, USB2, and of course USB 1.1. You can slam more audio data through a PCI card than any of the above. With an excellent driver PCI can outperform the rest. This does not mean that a consumer PCI is "better" than a Firewire interface.

Remember, drivers and DACs are the critical variables. It does mean that a well heeled PCI interface and breakout box will be able, generally speaking, to outperform a similarly well-heeled Firewire interface. However, PCI has some pitfalls. You have to open the computer and place it in a "good" slot. Not all PCI slots in a PC are created equal. Some share resources with other slots. Sometimes a PCI video card in the machine interferes with proper operation. Sometimes you have to re-arrange the cards till you find the slot where the card works better. Getting a headache with all these "sometimes, this, sometimes that". Yeah, sometimes its a pain! Especially if you are on Win 98 or (gasp) Win ME. And sometimes it just works perfect the first time. Generally, the more modern the computer and OS, the more modern the PCI card, the less troubles you will have. Once correctly installed and driver parameters tweaked in your application, the PCI soundcard or audio interface will be rock solid reliable, fast, and be able to spit out audio tracks in great number.

Q) Is Firewire Better?

There is no doubt that firewire is easier to install. Given of course that your computer has a firewire port. You can install a firewire interface on a pre-firewire computer if you add a PCI firewire card. However, some older computers may not have fast enough data busses on their motherboards for it. If your computer already has a firewire port generally speaking you should be OK. A good firewire interface will offer plenty of tracks to do serious work, almost as many as PCI, with less hassle. With good DACs and Drivers, the Firewire interface is a great way to go.

I am thinking that manufacturers will be coming out with great new firewire interfaces that will enter into the realm of digital mixers, with onboard DSP effects cards, and possibly DVDR storage, but that is the future. For today's intermediate and advanced users, Firewire is ready today. Unlike USB 1.1, its a great solution for a home recording studio.

Q) Why don't you list USB interfaces? A little story for you

Answer: Because I don't want people to rush into these blindly. Consider the user who is in a hurry, reads this article and rushes to buy a USB solution. They try it out and it doesn't work so well. Then they are mad. And I have to watch on my forums as the tragedy unfolds over and over. Here goes--the typical newb, talking to his simple brain thinks, "dude, I need something simple" and then "Wow, I don't even have to open the computer!". Yes USB is simple alright. But wait. Then they plug it in and wonder why everything sounds "slowed and scratchy". They read the manual, realize they installed the drivers wrong and now have to go through a tedious manual uninstall. They reinstall and it still won't work. So they update drivers. Nope, no workie! Call tech support. No answer.

Uninstall, reinstall, over and over and it 5am on Monday morning and they have to go to work! Then they show up on the forums, mad, confused, tired, screaming. Now does it make sense why I will not recommend a USB audio interface? The point the newb probably missed is that Motherboards require USB drivers and some older motherboards cannot cope with the demands of a USB audio interface. Duh. What started as simple plug N play ended up a motherboard swap, the hardest upgrade one can do to a PC. So much for something simple.

Of course, this is an example of someone using an older computer. I am really not trying to get you to avoid USB solutions, I am just asking that you be a little more careful. The more stuff you hang on USB, the greater the likelihood of clogging the bandwidth even if it has a great driver. Go ahead, go USB if you have done your homework. Macs, for some reason, seem to have a better time of it with USB. But in all cases, expect lower track counts, higher latency (higher is bad) and glitches when you push the thing hard.

What should I use for a Laptop?

Besides, who wants to unplug their audio interface? People using laptops? Yep! But that brings up another thorny issue. Can your laptop, with its slower drives and compromised CPU deal with USB Audio? There are plenty of horror stories here and I am at the point where I will not recommend a laptop for serious audio work with the exception of a Mac Powerbook. Just a little while ago Cakewalk was recommending that laptops not be used for running Sonar. And its not just a Sonar problem, but any application that has to sync midi to audio tracks. With cheap PC laptops and a cheap USB 1.1 interface you can get in double trouble. It might take days to figure out which one is causing the glitch. If you get out alive, let me know. Funny, huh? No it is not. People get burned, daily. But as laptops get faster, with better drives, its starting to finally get better. I truly hope these will end this nightmare chapter.

So what the heck do you do if you have a laptop? There are USB, Firewire and Cardbus solutions. I prefer Firewire myself. It's simple, there's no messy card, just one cable, and its almost as powerful as PCI interfaces.

USB

Save USB for stuff you do unplug, like cameras. All said, go PCI or take a better chance with Firewire. Here's a thread a studio-central "Why is everyone anti-USB? "that spells it out. If you are using PC software, get a desktop. If it has to be a laptop, get a Mac. If it has to be a PC laptop, do firewire or a cardbus. Or consider using onboard sound with various adapters and connecting a small preamp to the line inputs.

CardBus

One way is to get an RME Cardbus solution. The Cardbus connects via a typical Firewire IEEE1394 cable to a breakout box such as the RME Multiface. Because the Multiface handles most of the processing, the CPU's burden is eased and good performance is possible. Read more at RME's website. Emu has just released the 1616 laptop audio interface. If you have it, give us a shout at studio-central. Tell us what's up.

Firewire

Motu has released the Traveler, a portable, but full featured audio interface. You can actually power the thing from the firewire port itself, or by battery power, which is good for recording on the road. Heh, you could record "Rocky Mountain High" high in the Rockies at last! Need something smallà Check out the Presonus Firebox. The Firebox can also be powered off the FW bus.

Lets take a Break

Ok, by now you might have more questions than you did before you started reading. That's because you are starting to see the issues as they are. Now turn the page to get some answers to common questions about soundcards and audio interfaces.

**************************************************

Soundcard FAQ Page 2

Questions and Answer Time

Q) How many inputs and outputs should an audio interface have?

Tweak: The rule of thumb is that you need as many inputs as tracks that you will record simultaneously. Going to have 3 people over to jam and they all need their own track? Then you need 4 inputs. Simple, huh? Yep! Obviously, to do anything at all you need at least a stereo input and a stereo output. However, when recording music in a recording studio setting, even alone by yourself, two inputs can be at best inconvenient. You can work around this effectively by having a 4 bus (or 2+2 bus) mixer that can switch inputs of the mixer into the recording path and not affect playback of other tracks in the mixer. Regarding outputs, if you only have a single stereo out all your audio will go through it. If you have a mixer, and 8 outputs on your audio interface you can mix them at the board. However, it is certainly possible to do professional level work with just stereo i/o.

Q) Is a digital input/output (s/pdif) necessary?

Tweak: No, but it helps to have the extra i/o, which can be used at the same time as the analog outputs in terms of playback. If you are recording to CDs or DATs in real time, it is very helpful. Also, you could connect it to a stereo system with Digital i/o and use the stereo to monitor your audio. If you can afford a card with an s/pdif (digital) out in addition to analog outs, get it. By next year at this time you'll thank me. You can find out more about digital i/o and the different types in my Using a DAT recorder class.

Q) Is ADAT input/output necessary?

Tweak: If you have an Alesis ADAT multitrack you'd be mad not to get a card with an ADAT interface. But ADAT interfaces are found on more than multitracks. Most digital mixers have ADAT i/o. This interface connection allows the transmission and reception of 8 channels of audio in real time. So if you know a digital mixer is in your future you are wise to get an interface with ADAT i/o. If you plan to use an analog mixer you do not need ADAT i/o.

Q) What is the difference between balanced and unbalanced audio connections?

Tweak: A) Balanced means it takes a 3 conductor plug like a headphone plug on each mono channel (as opposed to the little stereo jacks that carry both channels on a soundcard). Note that a balanced connection is NOT stereo even though they use the same "headphone style" TRS connector. (TRS stand for tip+ring+sleeve). Also note that to obtain the benefit of the balanced connection the output of the gear you connect must also be balanced.

The unbalanced connector is often called a TS connector. (TS has just a tip and sleeve, just like a guitar patch cable) These may come on 1/4" phone jacks or on RCA (home stereo) plugs.

Can you tell the difference? If the cable runs are short, it's hard to. If you turn the volume up all the way on your amp, you typically will find that unbalanced connections are noisier. The longer the cable run, the more noise in the signal. Unbalanced lines may pick up electrical interference or even act as an antenna for radio stations. But most of the time, in short runs, there are no problems.

Most soundcards that take balanced connectors will also take unbalanced, but the reverse is not true. If you are connecting unbalanced gear like a mixer with unbalanced outs, the balanced connections will not help.

Q) I heard that balanced connections are always +4 impedance wise and unbalanced are always -10. Does this make a difference?

Tweak: Good question. You are thinking! First, impedance is separate from the cable format. Its a newbie myth that impedance is tied to cable format. On better gear, balanced i/o can be set to -10 and unbalanced i/o can be set to +4. But usually, balanced outs tend to be +4. Impedance does make a difference. +4 gear will overload a -10 input and -10 gear will come into a +4 soundcard at a low level. If your recording levels are too low, see if you can drop the card's impedance to -10 to match the device you are recording. If you are always getting distortion, set the card to +4. Cards that have balanced i/o are more likely to be switchable between -10/+4. Those with unbalanced RCA connectors are usually fixed at -10. Getting a soundcard or audio interface with balanced connections and switchable impedance is, in my opinion, the best way to go.

Q) I don't want to mess with all this driver stuff, what can I do?

Tweak: A) Unfortunately, when you use computer-based recording applications you have to pay attention to drivers. You could go with a stand alone digital multi-track and sync it to MIDI time code so you could use all the great MIDI features of today's computers. With excellent MIDI synths and modules, a good midi sequencer, a hardware sampler and effects boxes you won't be missing much.

However, the intelligent thing to do is some research before you buy. Check on Google Groups for problems users are having with your motherboard and the device you want to buy. Avoid stuff that was just released last week. Wait a few months till you start reading about the card in discussion groups. Evaluate the horror stories you read. You don't want to be typing out the next one.

Q) What is the thing with Latency everyone makes such a big deal about?

Tweak: Latency refers to the amount of time it takes from when you press a key on your midi keyboard to when you hear the sound, when playing a softsynth. A few years ago there were big problems with soundcards that did not support ASIO. The windows MME drivers had terrible latency. Now with WDM and Asio drivers, on Windows, latency is at an all time low. The Mac's Core Audio has good latency out of the box. The improvements over the last few years in soundcard drivers actually make playing the faster soft synths a better experience than playing older slower MIDI synths.

Q) How can I tell what my latency is?

Tweak: Find out the size of your audio buffer in samples. It should be listed in your soundcard's control panel. (Consumer cards may not do this) You can usually select among buffer sizes of 512, 384, 256, 128 and even 64. This number of samples divided by the sample rate (i.e., 44,100, 96,000, etc) is the latency in microseconds (ms) or thousandths of a second. For example, my delta 1010 uses a 256 sample buffer and i record at 44.1. 256/44.1=5.84 ms of latency. Note that if you use a 96k rate, your latency is halved. Hmm, that might be a test question later on.

Q: What does it mean when a driver says it is ASIOù MME? WDM? Direct Sound? Which is best...OOOPS, I mean what are the relative advantages of each?

A: Technically, the term "driver" refers to an API, or Application Programming Interface. The API sits between the hardware soundcard and the audio software. Your soundcard may install several drivers when you install it. These are "seen" by your music applications. In the application you have to choose which driver it will use. Remember, the drivers that come on installation CDs are probably outdated. Always go to the manufacturers website and download the latest set of drivers for your OS and soundcard or interface. Did I say always? Yes I did! You'll get us all irritated on the forums if you come complaining "my soundcard doesn't bleeping work (sob, whine, sob)" Then we have to start the routine...Did you update...(sigh).

Q: Where are these drivers on my system?

Your computer comes with audio drivers that are part of the operating system. Those are the ones you do NOT want to use (unless you have a Mac with OS X.) You install the drivers that come on CD from manufacturers and then update them at their sites. These end up in one of your Windows system directories and then are selected inside your software application. Note that simply installing the driver is not enough. You also have to select it inside of Sonar, Cubase, Fruity Loops or whatever. For Mac OS X the driver (Core Audio) is part of the operating system. There is nothing to update if you use it.

So lets talk a little about types of drivers so you are a little more conversant.

MME stands for MultiMedia Extension that is a part of Windows that sets the rules for recording and playing back audio. It is typically used since the 1st Windows 3.0 systems as a default. It's slower because it is controlled by the operating system. Each soundcard maker had to write a .DLL file for the card to use the MME. These varied quite a bit in performance. Today, rule of thumb is not to us MME drivers in audio applications, unless the soundcard maker took the pains to develop and excellent driver. They usually don't.

Direct Sound came about around the time of Windows 95. It has the advantage of being able to playback softsynths with faster latency. However, Direct sound cannot record audio, it can only play it back, So if you plan to to audio recording, it is not a good choice. So, you dudes that write me and say "Can't (explicative) (explicative) RECORD!" Check to see if DS is ticked. Don't use it.

ASIO is short for Audio Streaming Input/Output This is an "open standard" developed by Steinberg for minimizing latency with virtual studio applications. where multiple streams of audio are processed. It has been adopted by Emagic and other software makers. There are 2 versions. ASIO 1.0 and 2.0. 2.0 adds the ability to monitor several audio inputs at once. Cubase works best with asio drivers.

WDM stands for Windows Driver Model with Kernal Streaming This is a newer, lower latency driver that allows the application direct access to the "kernal" without going through the Windows OS. This results in latency figure that is fast like ASIO. It was introduced in Cakewalk's Sonar. So if you want to run Sonar, a card with a good WDM driver helps. However, today cakewalk does support asio drivers.

EASI This is a driver model developed by emagic which offers speed improvements similar to ASIO. It is also an "open standard" though not as many companies have joined the EASI bandwagon as have joined ASIO's. Works great in the now discontinued PC Logic. Consider it a goner.

GSIF This is Gigasampler's driver model, optimized to work with their products, which require extremely tight latency with huge streams. If you plan to run Gigasampler, make sure your card has a GSIF driver. GSIF can only playback audio it cannot record. It is usually used in addition to another audio driver, such as ASIO.

Core Audio This is the main Mac OS X method of handling audio, developed by Apple. There is no Core Audio for windows. Mac OS9 used other methods including ASIO that are no longer supported in OS X.

Which is the right one to use? For the PC, only 2 main choices here: ASIO or WDM. Try them both if they are on your system. Use the one that seems the fastest. They should all be close. Typically, Cubase, use ASIO. Sonar use WDM.

Mac OS X users don't have much of a choice. It's Core Audio. However, there are some exceptions. MOTU has its own drivers available in Digital Performer as does Digidesign for its Digi 002 systems.

To finish up here, it's always best to go with the drivers that the soundcard/interface manufacturer recommends. You don't want to use Windows MME drivers in a card optimized for fast ASIO drivers. Yet it astounds me as to how many newbs fall into this hole in the rush to get their gear working.

Edited February 8, 2006 at 11:33 PM by LE_Gui

[cylens]

franchement, j'en ai taquiné des pcs avec plein de softs différents... wdm, j'ai jamais utilisé...

[LE_Gui]

Ben d'après ce que vient de me dire un pote, je synthétise ce que j'ai compris : ASIO se mettrait en surcouche sur les drivers WDM...

WDM permet donc à Windows de reconnaître le périphérique (c'est un format de driver comme les VXD classiques), mais ASIO s'en sert pour faire communiquer le logiciel et le matériel directement sans passer par le système d'exploitation.

[larry]

C'est pas surtout une question de logiciel utilisé??? par exemple Cubase utilise Asio et Wdm un autre truc... du genre(je lis, la).... Ouai, Sonar!!!

A mon avis ca ne change pas grand chose l'un ou l'autre; c'est juste 2 boites differentes qui devellopent leurs propres drivers afin de faire chier les peònes comme nous avec leurs putains d'incompatibilités et pour etre sur que l'on ne pourra acheter que leurs produits....

[cylens]

ASIO, c'est steinberg qui a développé le truc, donc tu as raison larry. mais le fait est que si tu veux être peinard, à l'achat d'une carte son, faut qu'il y ait un driver ASIO. je dis pas que c'est impossible de s'en sortir sans, mais ça garantit que tout va bien se passer. acheter une carte son pour PC qui n'a pas d'ASIO, c'est un peu comme prendre une carte graphique qui ne supporte pas OpenGL.

[LE_Gui]

Je tenterai le coup avec les drivers ASIO universels "ASIO4ALL" sur mon GNX3000, un pote les a testé vite fait avec une carte pourrie, et il a eu des résultats corrects.

Donc avec un peu de chance, ça marche

[cylens]

le driver ASIO4ALL est fait pour ça

il te garantira une latence correcte et une bonne communication entre le soft et le hard

maintenant, rien à voir au niveau de la qualité du son... le driver n'y peut rien, c'est la carte uniquement

[LE_Gui]

Surprise ! lol

Je ne sais pas qd mon matos va arriver, mais j'ai commandé hier à 2h du matin, ce matin 8h, confirmation, et début d'après midi, je reçois un texto de Thomann comme quoi le colis est parti...

Donc bientôt j'aurai mon GNX3000, un pédalier multi-effets gratte+basse équipé en plus d'une interface audio USB

Je ne sais pas trop ce qu'elle vaut cette interface audio, mais ça devrait le faire, y'a pas de raison. J'espère juste qu'il y aura une latence faible.

D'ailleurs, c'est quoi à peu près le seuil pour qu'on ne l'entende pas, la latence ?

[larry]

Jusqu'a 10 ms c'est pratiquement inaudible, au dessus, ca commence a faire un effet "echo slapback". On s'en rends surtout compte en slappant d'ailleurs.

Enfin, maintenant la plupart des cartes ont du direct monitoring ce qui fait qu'a l'enregistrement on ne sent rien(faut pas mettre trop de plugs en playback ou d'instrus VST pendant le recording, meme si je n'ai pas de probleme chez moi avec un Celeron 2,4Go et 1Go de ram DDr et 2 gros DD)

[cylens]

mmm ça dépend... mais 6 ms, pour moi, ça me va (256 ech à 44,1 kHz)

avec ma RME Hammerfall, je descendais à 64 -> 1,5 ms... raaaaa pourquoi je l'ai vendue? ah oui, c'est vrai, j'avais éclaté mon laptop

un truc que je capte pas: tu reçois un texto de thomann? c'est quoi ce plan?

[larry]

Je me posais la meme question.... Compose le 51445(1000€/appel) et tape ToTo tu recevras l'avancement de ta comande...

[LE_Gui]

Ben vi, tu donnes ton numéro de portable à la commande et ils t'envoient une notification : "Your order XXXXX has been shipped today - thank you for your confidence"

Voilà

Rapides les allemands ! J'aurais qd même préféré être livré au bureau, mais ils m'ont pas laissé le choix à la commande, pas d'adresse de livraison sélectionnable... Et la commande est partie si vite que j'ai pas eu le temps de changer !