This Will Change Pro Audio Forever...

[@TaylorDanley]

GET ONE HERE! sweetwater.sjv.io/5g99aD

[@riffsnoleads]

"I was just making songs with my friends and having a good time" ever since leaving that mindset I have been trying to get back to it.

[@TaylorDanley]

same. I mean, I still do sometimes but yeah… it’s important to remember it’s supposed to be fun!

[@joshuataft5541]

That's the thing all say..is when we chase popularity or do it for another or anything other than fun..it becomes a succubus... fun is the goal.. And being inna legit band is hard work ots literally a army of people to make a show and is hard ass wrk

[@BlueArpeggio.PoDoDan]

Man this hits way too hard, just in the dead center of my soul

[@BrandonSills]

that auto-gain feature has been legit. owned this since a few weeks ago or so, and no regrets. i'm converted.

[@TaylorDanley]

@@BrandonSills it’s saved quite a few takes already!

[@RiloRox]

the problem i see with your demonstration is that you cant just change the sample rate and bit depth for every bounce, you need to track the stuff twice or else its just going to up or downscale the project tracks. you need to make two completely different recording sessions for this to be representative.

[@weinderdog1184]

My first rig was a 1/4" to 1/8" adapter straight into the mic in on my mom's dell that I had audacity on. No IR's, just pure unadulterated preamp tone to get that sweet sweet can of bees sound. I just got my HD2 yesterday. Super pumped.

[@TaylorDanley]

I’m really digging it so far, especially that loop back. such a big improvement. I also used to record a direct preamp sound for guitar, had no idea why it sounded so bad, I just new it sounded lol

[@andrewlong445]

I swear everyone who had a talk boy or a yakbak now has a home studio. I was a yakbak kid.

[@TaylorDanley]

HEY KIDS, WE’RE HOME EARLY! Yeah, that was the catalyst for a lot of people interested in audio engineering for sure

[@blakemoore1905]

I had a 4 track lol couldn't even play those tapes out of anything

[@TaylorDanley]

@@blakemoore1905you have to mix them down. The way for tracks work is you have a stereo track that moves in each direction. A 4 track had a special head that allows you to record 4 mono tracks in a single direction. So they had to be summed to stereo on a normal tape head to be played back 🙌

[@squeezylo]

Agreed! I loved my yakbak and now love recording music haha

[@mikesmith1290]

@@TaylorDanleyI still have my Tascam MKII 4 track! Haven’t use it since the early 00’s, but recording was a lot funner back then. You had limited features and didn’t care f it sounded good, cause it couldn’t!

[@052RC]

One thing you didn't mention in the video was some of the reasons for using a higher bit rate. You don't always use a higher bit rate to get better sound quality, you use it to preserve sound quality. A higher bit rate helps mitigate the negative impact on what's typically called bit stripping. Bit stripping is a problem that only happens when working with a signal in the digital domain. When you are using a format like 24/96, for example, you only get 24/96 when all of the digital volume controls in the signal chain are set to maximum. As you lower a digital volume control, that 24/96 keeps going down the more you lower it. The higher the bit rate, the less noticeable is any bit stripping that occurs, and the higher the bit rate, the finer the adjustment. If you've ever wondered why some cheaper pro gear upsamples everything to higher bit rates, this is why. A good example is DJ equipment. Most DJ's work with MP-3's. MP-3's are bad enough to begin with that once you start lowering the volume on individual tracks to mix, its a big sound quality issue. A good DJ mixer will upsample the signal to something high res, like 24/192. This doesn't increase the sound quality of the MP-3 because its lossy compression. All the upsampler does is add non musical information to the MP-3 file in order to trick the player into thinking its a 24/192 file. When the DJ lowers the volume on the converted high res file, the adjustment is much finer, and you loose less information to bit stripping. One other thing in the video you mentioned was having the cleaner, high res signal allows you to push the gain higher with no noise. While there is some truth to that, you're probably mistaking gain with volume. Too much gain distorts the signal itself when too much power into the input of an audio component. A clean signal can help some, but if you keep increasing the signal level, its going to distort. The excess electricity is damaging the signal itself. Its exactly what you do with a guitar. You increase the gain until the tubes in the preamp overdrive and distort the signal. To be clear, you only want to do this with a guitar and a tube preamp. We're all guitarist here, so its a good example. For recording, and solid state gear, you never want to overdrive anything. A volume control is completely different. You can't harm the signal with a volume control. Turn it up as high as you want, you can red line it, and it won't make a bit of difference. It won't harm the signal in any way. A gain control will. Its an easy mistake to make, that's why I brought it up. Its also good to know if you are having gain staging issues. You can only fix a gain problem with gain, not volume. Anyway, I know you already know most, if not all of this, but not everyone does. A lot of people read these posts, some looking for help, so I provided some details that are not always easy to come by.

[@oupahens9219]

Great explain from a guitarist point of view, where electricity flows. In digital zero's and one's the gain should though behave just like volume.

[@michaelcarroll5199]

I’m an Antelope Audio user. This reminds me of a rackmount version of my Zen Tour. If this was available when I bought my interface I may have got this one instead. I’m a guitarist turned producer so how well it will allow me to route my guitar the way I want is one of the first things I look for in an interface. This is an awesome piece of gear. I’m happy with my Antelope but this is very cool.

[@nicshoffner3131]

I built a PC with 2 Aardvark Direct Pro Q10's around 2000. I was able to record 16 channels at once and then edit in Cakewalk. I used it to record an album and run live sound/record music simultaneously. It worked great but I sure wish the technology of today had existed back then.

[@h3lio5]

Tascam 4 track to cassette was my gateway drug to home studio in late 90s. It’s been so wild to watch the tech mature over the years. Now I use a MacBook Air with hardware control surfaces. It’s truly the golden age of home studios

[@StirfriedGerman]

ADAT "only" supports 24 bit or less, 8 channels at 48khz, 4 channels at 96khz. 32bit makes a nice bumper sticker, but with the additional storage and processing required for something that nobody can hear, and the fact that your 24 inputs get truncated to 16 if you use anything higher than 24bit/48khz, you likely won't use it . The only reason to use 192khz is for low latency monitoring, amp sims and other VSTs. Nice interface nonetheless, but Audient EVO16 is extremely similar with autogain for $580 or combine it with SP8 to get 16 channels of autogain preamp inputs for $100 more than the Presonus.

[@MoeThermodynamics]

How does 192 khz recording affect live audio monitoring?

[@StirfriedGerman]

@@MoeThermodynamics I'll save you a Google search : The calculation is simple: We divide 512 samples by 44.1 (44100 samples per second) and get 11.6 milliseconds (1ms = 1/1000sec). If we work with a higher sample rate, the latency decreases. If we run our DAW at 96kHz instead of 44.1kHz, the latency will be cut in half. The higher the sample rate, the lower the latency.

[@MoeThermodynamics]

@@StirfriedGerman I didn't know there was such a relationship between buffer size, sample rate and latency. Thanks!

[@exhumus]

I have the original Quantum 26x32 daisy chained to a 4848 so I can keep a bunch of outboard processors and synths patched in. It's disappointing that Presonus dropped Thunderbolt and daisy chaining capability with this new generation, especially when they could've also incorporated the AVB capability of their digital mixers to achieve it. It means an upgrade isn't an option for me.

[@arondale]

@@exhumus totally agree. No thunderbolt, no ability to daisy chain aggregate interfaces with one cable to computer. No std midi ports. This is kind of a step down. You can only run 4 synths if you want to use stereo via patch cables.

[@exhumus]

@@arondale I guess the original quantum line didn't do that well and they had to reimagine what it was. Can't have been that bad though, since I haven't been able to get a second 4848 new pretty much as soon as they were discontinued.

[@timbeaton5045]

Glad you are talking about 24 bit v 32 bit (float) and sampling rates. Remember that 24 bit sampling has a theoretical S/N ratio of 144 db as opposed to 32 bit which has a theoretical s/N ratio of 192db. In either case, this is ALWAYS limited by the S/N ratio of any initial preamp you are going to use.and will be far less than these figures. So that only real world use for 32bit float is really if you are recording speech, such that it becomes less important to set the mic gain, as if you DO get a sudden peak that would be distorted with a 24 (or indeed 16) bit path, then you can lower the "gain" in post to remove the digital overload. 32 bit INTERNAL processing (or even 64) in a DAW for example is a different case, as the complex process of compression and other processes in the digital domain, juts means there is internal headroom for that processing, which will be rendered at teh bit rate of your project at the end. Basically, if you know what you are doing, 24 bit at 48 K for projects and AD/DA conversion is more than you will ever need. Especially when you look at the actual dynamic range of most music today. I would accept that there may be advantages when recording a classical orchestra where the dynamic range of thr performance will stress the S/N range of recordings far more than your average pop/rock/metal etc recordings. And files, as you pointed out will be much smaller. This drive to higher bit depth and sample rates really reminds me of the old camera spec wars where MORE MEGAPIXELS is always BETTER!!! Beyond a certain level, it merely becomes boasting and misleading, as people tend to assume that bigger numbers in a spec sheet means better quality. it usually doesn't.

[@jaredjahmayne]

fender actually owns presonus and their software so i'm not surprised by the collaboration

[@SteeleMusic574]

You are so very informative and strait to the point! I've been eyeballing the HD8 for some time now and made the decision to pick one up! upgrading form Quantum 2626! Thanks for the knowledge and link! My first ever rig was a Lexicon Alpha!

[@TaylorDanley]

@@SteeleMusic574 oh snap I had one of those also, but I was just borrowing it. Very cool. Hope you dig the interface as much as I do!

[@SteeleMusic574]

@@TaylorDanley 💯

[@3ngi_n33r]

I’m listening through Bose qc 30s.The different bit depths were subtle, but slightly noticeable. The 24 bit seemed slightly “in the back” compared to the 32/192. I don’t think it’s enough to warrant 4x the storage and processing though. Neat interface! I like presonus mic pres.

[@MrTurnerNVA]

I have owned the Quantum HD2 since July AND I ABSOLUTLEY LOVE IT. Presonus is doing things right.

[@c4li]

still rocking my 13 year old RME Babyface, best purchase i've ever made. I get GAS often, but no desire to upgrade my audio interface.

[@Zareh_Abrahamian]

I believe 16 bit 44.1 kHz CD standard is the highest quality audio there is for human ear. The 48 kHz was just a marketing gimmick from Sony to sell their DAT recorders back in 1987 which failed because people wouldn't go back to winding and rewinding tapes. It only made things more complicated especially since 48 kHz was adopted by audio for video. I bet people who claim they can hear a difference won't be able to tell a recording in blind test encoded in 320 kbps mp3 and the same encoded in 64 bit 384 kHz. It is just a waste of disk space, CPU, etc. Also consider all the conversion through different plug-ins and similar confusion. However 24 bit 44.1 kHz are the settings for my projects in Cubase because 16 bit gives approximately 96 db of dynamics whereas 24 bit goes up to about 144 db (about 6 db per bit), the dynamic range of human ear being about 120-130 and frequency range around 20 Hz to 20 kHz. My choice for 24 bit is just psychological since especially in metal the dynamic range is quite narrow. One last word about 32 bit float: it is used to encode data that goes beyond 0 db, once you normalize your tracks the clipped peaks come back at zero db. I use the Waves RChannel for the audio input when recording which prevents the signal to go beyond 0 db.

[@murrkywaters]

So there is an audible difference between 16 24 bit sound, but 32 float doesnt sound different from 24. 32 float is useful for internal processing. 48 kHz was adopted by video after vhs became obsolete 44.1 kHz matched the helical scans of vhs nicely, while 48 kHz syncs well to 24 fps video. 48 also has another advantage which is it minimizes cramping and cuts back on audible aliasing without costing that much more cpu.

[@Zareh_Abrahamian]

@@murrkywaters There is no audible difference between 16 bit and 24 bit. The headroom is for dynamic range that is crushed by limiters and compressors in most of today's audio. I choose 24 bit just for the psychological implication that I am encoding the whole dynamic range of human ear. I wish Sony and Philips had decided on 48 kHz from the start so that we wouldn't have this mess. I guess the storage of the CD format and the technology of the day could not allow for that. They wanted a storage medium to contain the whole of Beethoven 9th, I have heard. BTW most of us (I assume) use 30/50/60 fps instead of 24. I don't believe in the fairy-tale of 24 fps being magical and all.

[@murrkywaters]

@@Zareh_Abrahamian On a well tuned system, with a genre that isn't crushed to hell, there is a difference between 24 and 16. Will everyone be able to hear it? Probably not. Is it magic? No. Is there a detectable difference? Yes. Re: pro video In tv and film 24fps is not uncommon. It's why dolby atmos locks you to 48 or 96. As for the minimal processing advantage on 48 over 44.1 I'd recommend Dan Worrall's video on the topic. Imo that thin edge is worth it if your system can handle it, which it should be able to if it can handle 44.1.

[@Zareh_Abrahamian]

​@@murrkywaters I finally did check for the origin of 48 kHz. Whatever I wrote in the posts was from memory because I lived the era. For us consumers 48 kHz was introduced by DAT which could also encode at 32, 44.1 as well as 48 kHz. They claimed the higher sample rate provided for better anti-aliasing filter, since it could encode audio up to 22 kHz. DAT failed because people did not want to go back to winding and rewinding. Surprisingly, the flimsy DAT technology ended up in recording studios to record the stereo master tape. As I thought it would be much better if they had adopted 48 kHz for CD but for the technology of the time it was considered too much waste of resources. The only problem is me clinging on to 44.1 kHz by force of habit. If you have $2000 Avalon mic preams, $2000 ADCs, tens of thousands of $ worth Neumann mics, $50000 plus ATC studio monitors weighing a ton, a dead quiet room, recording a trio (piano, violin, cello), good luck with hearing a difference between the piece encoded in 320 kbps mp3 and 64 bit 384 kHz sample rate. As you know, people these days listen to music using streaming platforms on their smartphone, with tiny earbuds. Sad but true.

[@murrkywaters]

@@Zareh_Abrahamian what is your source on that? I ask not because I think you're wrong or mistaken, but because whenever I look into why 48k is used I get a lot of sources talking about both PAL and NTSC wanting to avoid leap frames, but audio engineers not wanting to waste resources with a 60k sample rate. Not trying to be combative, just trying to get a full picture ETA: Also you don't need all that fancy equipment to hear a difference between an mp3 (even a high quality one) and just cd quality audio, just a mid pair of headphones with a proper headphone amp. I can hear it in the transients and reverb tails which means for me I can better resolve the sound stage. Not everyone can, not everyone cares, but I can, and I care so I still buy cds when high quality downloads aren't available. 64 bit and 384k are stupid wasteful. For listening I wouldn't bother over 48k 24 tbh because there isn't a detectable difference over that and you could actually be damaging your hearing with the ultrasonic information.

[@ronnielobosmith4870]

HOT GARBAGE WAS MY STRIPPER NAME IN COLLEGE 😂😂😂

[@blackout1893]

thats not a flex

[@TaylorDanley]

@@ronnielobosmith4870 as someone who’s best friend is a strip club DJ, I approve of this

[@ronnielobosmith4870]

@@blackout1893 🤣😂🤣

[@erzhanva]

Love this. I started with an Alesis io4 back in the day. Knew absolutely nothing. Just kept on messing around with mic setups and stuff with my friends. We made so so so much music back then. Upgraded to the presonus firestudio project. Now I’m returning back to my roots. Busted out the old MacBook unibody. About to attempt to bring back the fun in all of it, dusted off the ol FireWire cable stash and gonna get the studio project or a focusrite pro 40. Glad to see people returning back to our roots. Thank you for the video.

[@RickNuthman]

I still have my Firepod in the box that I bought around 2006. It was a great audio interface! Before that I had an Echo Layla that plugged into its own pci card. Now I love my UAD Apollo Twin now. Obviously it hardly has any inputs, but it's great for a small studio.

[@JDDavid]

It's probably worth mentioning that both 24 bit and 32 bit digital audio have a greater dynamic range (at 24 bit > 144 dB!) than the analog circuits, even the resistive noise of the copper wires in the mic cord. When you crank the gain on those mic pres, that analog gain is _before_ the ADC, so you are not demonstrating anything about the ADC/DAC bit depth. (It does show off a very clean analog input stage!) So, The way to convince me (or any wise viewer) of anything about 32 bit vs 24 bit would be to record a clean (distortion-free) signal like vocals or acoustic/clean electric guitar, and turn the preamp gain WAY DOWN, way lower than normal. Like 60 dB less gain than the auto-gain setting. If you do that into 24 and 32 bit ADC and then in SOFTware, gain up those digital signals, you MIGHT start to see and maybe even hear the greater quantization noise from 24 bits. Maybe not though, because taking 60 dB of SNR away from a 24-bit signal still leaves you with I think 84 dB of range above the 1-bit quantization level, or more if noise-shaped dither is employed in the recording.

[@matthelvie]

I am loving Presonus stuff lately. I have a StudioLive 24r for my band's IEM rigs.

[@scotteepunk]

Thank you for the awesome review. I have the PreSonus Quantum HD 2. I love it.

[@Justin.Franks]

There's also a smaller desktop (non-rackmount) HD model (the Quantum HD 2) for half the price. Only 2 mic pres and four 1/4" outs, and no word clock, but it still has the 32-bit/192 Khz converters, 16 channels of ADAT in and out, and the MIDI + S/PDIF breakout cable. Seems like a good choice for someone using mostly virtual instruments and who only occasionally records a live instrument.

[@guitarrilho502]

3:37 OH GOD YES

[@theneighborguy]

Motu Pre8 firewire and Scarlett 8i20 here... the Presonus stuff is looking really nice lately. Studio One was surprisingly awesome, now I run it atleast 50% of the time for different workflow reasons, I'll probably end up in Studio One permanently at this rate. Presonus is kinda knocking it out of the park right now. Good for them!

[@idiotburns]

4:13 that was almost a commercial for my presonus

[@idiotburns]

cause I like simple and have a current presonus I am looking at and upgraded in 2015 last

[@dpinskey]

It should also be noted that recording at a 32-bit floating bit-rate prevents clipping when pushing up levels

[@wilkinsi]

I have a MOTU 828ES interface, and the two things I like about this Presonus my that 828ES doesn't have are the reamp outs and autogain options.

[@DaveMustaine.]

I love all the software equipment I have. But very often it's just pure fun plugging up my Kramer SM-1 to my JCM800.

[@therealexpletive]

presonus has been making really cool non/professional consumer stuff. i dig presonus their stuff is relatively affordable also.

[@mattuskamusic]

I don’t think 32bit actually lowers the noise floor. If it does you couldn’t really notice. 24 bit is so low anyway. 32 bit mostly makes it where you don’t have to worry about gain settings until post processing.

[@electricwhiterabbit]

What is your reported round trip latency at 24Bit/48K at 64 buffer size?

[@KYDY]

32-bit is a marketing number. The actual spec of audio interfaces’ inputs and outputs usually max out around 120dB dynamic range, which is equivalent to 20-bits. The rest of the bits are used to capture the noise floor, even on 24-bit audio interfaces, so 32-bit is just a gimmick marketing spec. An analogy might be using a 24” canvas for a 20” frame painting. Then another painter comes along and says “my paintings better cus it’s on a 32” canvas,” well no cus the frame’s only 20” so the extra canvas doesn’t matter at all.

[@latentsea]

32bit can help when setting levels in difficult environment. More dynamic range available without adjusting levels. That is the most important application

[@latentsea]

Floating

[@KYDY]

@@latentseaincorrect. Maximizing dynamic range depends on correctly gain staging, not on the bit rate. And floating bits are for signal processing, not for the interface I/O.

[@MrSchism]

While it's a great interface, I will say that in just listening to things, they're going to be beholden to the sample rate and but depth they were recorded at. You won't magically get a 44.1@24 to sound like something it's not. That said, if some files you get were recorded at a higher quality than what you had before could reproduce, then you'll see a marked improvement.

[@ericpeterson9336]

Oh ...boy, yup I went from recording into 2 boom boxes . I 'eventually ' got a Sound Blaster Audigy Gold . woooopie !!!! A sofisticated sound card with a daughter board . The daughter board had a connector something like an old LPT ( printer cable ) that went to a desktop box with a MIC input and a Firewire port I think and maybe a 5 pin MID port . It came with some ( at the time ) cool software . Then I got an ATARI 1040 ST with Master Trax Pro and a VESTAX 4 track ....and so on

[@michaelbutler2312]

just seems no different than many other audio interfaces! change pro audio forever? can't see that! is it as good as others, yes!

[@ChristianMoses]

I have the HD2 and have been really impressed with it. I do find that if I track a guitar DI at a reasonable level (typically 12db of gain on the instrument input) reamping that signal is quite a bit lower than what my guitar would be plugged directly into my amps (around 8db). I found that I need to track at about 21db of gain on the DI signal in order to have my DI at the same level when reamping, but frankly that's way too hot with any of my humbuckers and I'm clipping. Curious if you found the same thing, or what your settings were for tracking DIs or if you were boosting your reamp signal. So glad someone finally addressed this feature in a video since it was a major selling point for me and it's an incredibly convenient feature. Thanks!

[@els1f]

8:38 I love this statement! Everyone should aim for that✌️

[@Maxim_BornDivided]

actually to my hears, the 32-bit 192kHz sounded too harsh on the high end for me vs 24-bit 48kHz.

[@hoopscentral1828]

Thats a sign of poor conversion

[@vincentvanzwietenOFFICIAL]

I did hear a difference as well, the 32-bit 192KHz did sound harsher and less clear. However I know enough about audio that the difference shouldn't be noticeable at all. I'm not sure why it had a difference in this comparison, but I'm sure the samplerate and bitrate weren't the actual reason for the difference. My guess is that the 192KHz was badly converted to 44.1KHz at some point (KZbin likely uses MP3 256KB/s 44.1 KHz for its audio) and what we're hearing is actually aliasing of some sort.

[@Maxim_BornDivided]

@@vincentvanzwietenOFFICIAL Could be that, interesting nonetheless !

[@slayabouts]

I’ve been wondering why no other company has added a reamp out on their interface like IK’s AXE “Let’s bump that up to 60; I don’t like odd numbers” I feel that

[@cfbarrerap]

32Bit recording is awesome to capture a mosquito sound on an airport....

[@perrywalker2778]

Not a metal head but I dig the video. The 32/192k sounded slightly more detailed. However, both takes sound very good. Still, I don't think its worth it recording at those high settings. 24/48 sounds great and more than enough.

[@Emily_M81]

I have the HD2 and I like it a lot. I thought about splurging for the 8, but just connected my existing 18i20 to it over ADAT @ 48kHz. thanks for sharing.

[@Nolimithate]

the difference in bits or kHz and cost is disproportionately less than any turn of the tone control or equalizer

[@Michael...Jackson]

Channeling Mitch Gallagher at times lol. Your cadence and the subject matter give off major Sweetwater demo vibes 😆

[@HenryhyphenS]

My only problem with Presonos is they just aren’t known for their preamps. I use an Audient iD44 (mk2) and their preamps are super clean and their desks are 30k. There is no character with a reamp and although the firepod was tremendous value (especially for 8 preamps!!) the choice of interface at $1000 is vast and I just don’t think Presonos are a brand I would choose. I know you get 8 preamps (which I’m sure are completely fine!) but I think id rather have an interface from SSL or RME with less preamps and then use something like an ADA8000 via adat to capture drums. Especially when you could run the Snare, Kick and Overheads through your nice preamps and use the Ada for the toms. It is nice that Presonos have aimed this interface at guitarists though and I’m sure if you reamp often the dedicated reamp inputs could be useful 👍

[@magog6852]

this dude is another sweetwater shill. the big dogs you mentioned are the best, and are the best for a reason. Presonus is what poors buy, and the quality of products is no different than most trashy focusrite products. i'd ebay any old interface all day long over anything new

[@therealpsychotrader]

There was definitely a decent difference in the comparison surprisingly.

[@RecordingStudio9]

I owned PreSonus gear for many years like the AudioBox 1818VSL, the iTwo and the Studio 1824, and they all have INPUT to HEADPHONE level unbalanced. No matter what type of headphones I use, you can't hear the live mic input loud enough, so I have to crank up the headphones and the input level to hear while recording, and the USB playback return, I have to turn it down like 20db with the UC fader as it's too loud compared to the live mic input. Now my humble question is, has this been fixed?

[@sgud6444]

The 32bit 192khz and 24bit 48khz will sound the same, but the 32bit 192khz will have head room for editing

[@gibson2623]

I pass on any Presonus gear...And for that price I d pick RME or other brands

[@McCormicMusicStudios]

Presonus has made big strides in the last few years. They had some reliability struggles back in the early days. But the new series 3 live consoles are fantastic with exception of the inboard effects. And studio One is my favorite DAW by far presonus has easy to navigate user interface down really well.

[@blakesmith9039]

Is that a good first time interface for beginners

[@paulgreblick]

You would use the 2nd reamping input on the front if you had a stereo chorus pedal or something you were doing that had stereo pedals.

[@RobinApplewood]

Cool and thanks for the review, but this by means "changes pro audio forever"

[@mikesmith1290]

My 1st real audio interface was the Presonus Firestudio back in 08. It died a while back, but it still looks great in my rack. I’m now rocking the UAD Apollo X Twin. It sounds amazing, but it’s IO is a joke for how much they cost. Great review btw!

[@TaylorDanley]

@@mikesmith1290 thanks! Yeah I still had the firepod I used in this video sitting in my rack. They look cool! Haha

[@IndyRockStar]

Save up. Buy an Apollo X6, X8, or X8p and be done with it forever. Buy a Scarlett 18i20 to hold you over for $499.

[@philxknife]

Big Presonus fan since I got my studio-monitors from them.

[@shakarocks]

I actually made some decent sounding demos with both Sound Blaster Live and AWE64.

[@dfender57]

Forever is a long time…😮

[@HalcyonGuitars]

Any way to include other preamps you might already own?

[@TaylorDanley]

@@HalcyonGuitars like physical preamps? Yes. You can bypass the internal preamps by using a mono 1/4” cable instead of trs (or vice versa). It’s not my forte, so I didn’t go into it, but it’s mentioned in the manual.

[@HalcyonGuitars]

@@TaylorDanley Thanks!

[@annebokma4637]

Your link to the gear gives me a page not found.

[@asolterocruz]

audient did it and no word from anyone

[@rockheavy1972]

Helloow.. nice vid, thanks :). I'm still running my Projectmix IO with a separate FW card myself.. still does the job for me

[@jonathanthedeceptikon]

Thank you for the informative content! Appreciate you. 🙌😎🙏

[@juggz143]

Nice review, I'm thinking of swapping my quantum 2626 for the quantum hd 8 so I've been watching lots of vids on it. Regarding your final issue there... you can create a send and use the send as an input on another track.

[@jeffgadd2077]

Forgive my stupidity but this doesn't replace the door does it?

[@capnzilog]

Does the HD-8 support zero-latency digital input mixing?

[@walterraponi]

Looks like an updated evo 16

[@hardedgednb7114]

This interface looks cool I currently run a Zoom UAC-8 and a Presonous revelator io24 in my studio. I hate the UAC-8 it's buggy and unsightly. I really like the io24 it's solid as a roc. I may replace the UAC-8 with this PreSonus Quantum

[@dinos2119]

You can talk that is for sure,

[@PressRecord777]

Studio One Pro included 😀 No MADI connectivity 🙁

[@JamieSlays]

haha i think me and you grew up doing the same thing haha :D

[@wolfgangdevries127]

Just bought a 2-channel USB audio 16/44 for €22,95 😊

[@seantownsend554]

is it possible to link the quantum with the 1824c?

[@joesmith5617]

Should do a vid on how quick you can set up a drum kit recording set up with auto gain vs no auto gain on a traditional interface

[@latentsea]

If there are two people, about 20 seconds per microphone. 12 microphones 4 minutes.

[@joesmith5617]

@@latentsea nah because the evo range does a full kit in 20 seconds doing mics simultaneously so this can't be correct

[@joesmith5617]

Or your be better getting the evo range if you are a drummer or recording engineer

[@AtTheSourceStudios]

This interface does look nice but still not really compared to the Motu 16A etc AVB interfaces IMO.

[@mattvdh]

good stuff dude! what is the latency response? how low can you get it for amp sims

[@TaylorDanley]

snap, I forgot to mention this! VERY low. I think I casually mentioned it’s lower than my last series of thunderbolt interface…. but basically I can get it all the way down to 16 samples. Haven’t encountered issues with it unless I try to do that at a really high sample rate.

[@Tamajyn69]

Seems similar to what Audient has been doing for a while. Cool unit tho ✌️

[@idiotburns]

yes, I still have both of mine 1:09

[@idiotburns]

2004 G5 Apple in April of 2004 and it was on and my steady recording tool until 2015

[@djabthrash]

Nothing revolutionary about it really... Just a couple of cool features, and most selling points are marketing BS.

[@officialpoa3171]

*I WILL WAIT TO TSEE HOW THE **#DRIVERS** PAN OUT! ...98% OF THESE COMPANIES MAKE GREAT LOOKING HARDWARE FILLED WITH FEATURES, YET THEIR DRIVERS ARE AWEFUL!* ...I will stick with #RME, rock solid, always works, always sound top notch, drivers never fail, support NEVER STOPS for products and the products will last your career!

[@rexcassidy]

Price?

[@KarryConway]

the only thing this will change is your bank account balance ffs

[@Chaos-Dynamics]

Just an other interface it’s not going to change anything 😂

[@ayeapprove]

1000 eur for this is a bit much though. And Presonus has a history of phasing out product support. All of their Saffire products are practically worthless with new OS

[@darkpheonix69008]

Storage really isn't expensive though, there's always sales on EXOS/Ironwold pro high capacité drives

[@TaylorDanley]

@@darkpheonix69008 idk man if you want a drive that’s fast enough to keep up with modern computers (ssd, nvme) you’re looking at spending hundreds of dollars per drive.

[@darkpheonix69008]

@TaylorDanley ik mu expérience you'll only really need an SSD as the scratch disk when recording. Once the project is over, it goes into archival on slower but high capacity hard drives. You can fetch them back on your scratch disk later. No need to overspend on high speed storage.

[@SenseiKreese]

You kinda lost me on your first comment about 32bit, 'coz it felt like a jump going from 16 to 24bit.' All the bit depth does, is give you more headroom and dynamic range. 32bit will basically never clip. But 24 bit has more headroom that you could ever possibly need. You could record a volcano popping off. If you're clipping at 24bit, it's just you wildly setting your gain wrong. 32bit has been around for ages, it never took off in the industry because 24bit is well enough. All you will do with 32 is increase your CPU load for no real advantage. It's not worth it. In theory, 24bit has less noise than 16bit, in reality, you can't even hear it, it's inaudible to human ears. The marketing team from any company in the world will tell you they like bigger numbers. But the truth is smaller numbers - 24bit - is better. If we look at the sample rate, there's also no real audible advantage to going 96khz or higher. It does sound ever so slightly different, but we are talking about a slither of difference, and again, it's going to increase CPU load for no real advantage. The industry has settled on 24bit 48khz as a standard for recording audio for good reason. In a world of virtually unlimited CPU power? Maybe you'd just set your shit to 32bit 192khz coz you can. I have hopes of GPU plugins taking over, there is a company that has a beta version of GPU plugins running, and then you are pretty much in unlimited land. The GPU can run so many plugin instances of even resource hungry stuff like convolution reverbs, it just blows any CPU out of the water. But until then, we live in a world where we need to conserve CPU usage, and 24bit 48khz makes the most sense.

[@davidbertram6876]

Fender owns presonus.

[@petershute3580]

Presonus is owned by Fender inc

[@ericwilliams538]

Ok, yeah, I have to admit, and being new to the whole "home studio/ home recording" thing, this shot so far over my head. Not saying that your video didn't have valuable information, because it does, I guess....I'm just not at this level yet. Here, let put it to you like. The information in this video is like on a college level, and I'm still in elementary school!!😂😂😂

[@kagunmarx5914]

🔥

[@grantwalkersound]

Fender owns PreSonus... so every new PreSonus product is partnered with Fender by default.

[@77advanced]

Will change nothing actually, but ok)

[@mazsenior]

$1000 ? No thanks!

[@gravesg]

This interface is still not better sounding than an Apogee Synphony MK2, and its been out for years. If you really think this sounds good, then apogee and merging anubis, would have you feeling like you've been wasting time for years.

[@breevwhyman2985]

Hi

[@barryprosser1370]

💪💪💪