Delta 1010 rack-unit and PCI card

An ADAT optical interface of this kind has several uses. I was immediately able to use the interface in two ways. The first project called for the digital transfer of 24 tracks of ADAT into the computer. By transferring the tracks into the computer I could now use Cakewalk Pro Audio 9 to do a fully automated mix with the console view of the software. Previously when I have mixed 24 track projects in the computer, it would require several analog to digital conversions. This method sounded cleaner and crisper than ever before. In order to save time (clients like that), I also utilized the MIDI I/O on the Delta 1010 rack mount unit. I connected the MIDI output of my J.L. Cooper Data Sync to the MIDI in of the Delta 1010-rack mount unit. The J.L. Cooper Data Sync is a device that converts ADAT formatted timecode and converts it into MIDI timecode. This relatively inexpensive device saves you a digital track because you don't need to waste a valuable track just to sync with SMPTE/MTC. Within Cakewalk I set the software to synchronized recording and 'slaved' Cakewalk to the ADATs. Because all three tapes begin at the same time, all I had to do was cue up each tape to the beginning of the song and hit play on the ADAT. Once the ADAT was rolling, the software began to record the tracks digitally and in sync. I would then cue up tape 2 to the same point and record enable another 8 tracks within Cakewalk (making sure to record disable the first 8 tracks) and the original 8 tracks play back along with the tracks being recorded. I repeated the procedure with tape 3 and was finished. Because the song was four minutes long it took approximately 15 minutes to digitally transfer the tracks from the three tapes. Because I had recorded the tracks into Cakewalk in sync, all the tracks were lined up perfectly. We could now mix, master and burn CDs and mp3s of our mastered mix all in the digital domain.

Although it may seem like a bother to take this much time in the mixing stage just to transfer tracks, in the long run you save time. Once tracks are in the computer you can use non-linear type editing to cut, paste, copy, fade, etc. Also, any mix changes which need to be made later can easily be changed. Oftentimes clients will walk away with different mixes which can be called up instantly at the next studio session. For example, perhaps the lead vocal needs to be turned up a few decibels in the third verse, it will only take a few minutes to make this change and the client has a perfect mix. By taking CDs of their mix home with them producers can live with a mix and make sure it is just right. This is where I have found you make up time versus the 'old' linear form of mixing. If any changes need to be made in analog linear mixing you have to start from scratch with eq adjustments, effects settings, etc. Essentially, by working this way you have a fully automated, completely digital mixing arena. To recreate this style of mixing with a console would cost several thousand dollars. By using this interface and a computer you probably already own you have the same capability.

Another great way to utilize the Delta 1010-AI is to connect it to a digital mixing board, which supports the ADAT optical lightpipe standard. In my case I have a Tascam TM-D1000 digital mixing console. In addition to the TM-D1000 I have the optional Tascam IF-TAD interface format converter. The Tascam mixer is a great little mixer and the cost/performance ratio is hard to beat. Out of the box you get 4 channels of aes-ebu balanced inputs, 4 line level inputs, 4 compressors, and 2 high quality digital effects processors. The board sports 16 input faders, 4 subgroups/aux sends, and a stereo master fader. All fader movements can be automated via midi and the board can also store 99 snapshots of all mixing parameters such as eq, effect settings, etc. The Tascam console (like a lot of digital mixing boards) ships with a limited amount of input and output. You can configure the board based on your own system, adding effects boards or ADAT interfaces or additional I/O. The board is designed to interface out of the box with Tascams' TDIF standard. Because I don't own a DA-88 ( I have ADATs) I purchased the IF-TAD converter which is Tascam's version of an ADAT optical interface for the TM-D1000 mixer. By connecting the Delta 1010 system along with the Delta 1010-AI in stand alone mode to the TM-D1000 mixer, I was able to add another 8 channels of 24 bit, high quality input and output to the mixer-all without having to turn on the computer!

M Audio's Delta 1010 and 1010-AI interface is a great system. I have given you two examples of ways to utilize the system. In both instances, the Delta 1010 was a pleasure to work with and gave me much more capability and better sound quality than I previously had. I found the Delta system in both set-ups to be very easy and intuitive to use. In the past with systems of this type, I have run into IRQ and DMA problems which have taken hours of hair-pulling and gnashing of teeth to work out. The Delta system was in contrast very easy to install. The sound quality of the 24 bit converters compares favorably to systems by other manufacturers, which cost several times more. Additionally, any third-party software I used with the Delta system worked flawlessly. The only downsides were the 'wall-wart' power supplies included with both units; at this price point I guess you can't have everything. If you need to upgrade your signal path to multi-track 24 bit, 96 kHz sound quality, you owe it to yourself to try M Audio's Delta 1010 digital audio system.

Rob Albertson is the owner of Rare Air Studios, Inc. A full-service production and post-production recording studio in Atlanta, GA. He can be reached at rareair@mindspring.com.

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