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MasterLink
is a stereo hard disk recorder and 24-bit/96kHz CD recorder with
onboard DSP
(click for larger view)
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As 16-bit audio continues
its slide into obsolescence, the pro audio industry looks for an inexpensive,
high-resolution replacement for DAT. Listed at $1,699, the Alesis MasterLink
aspires to take the baton from tape-based decks and offer a backwards-compatible,
high-bit/high-sampling frequency mastering solution with a robust, disk-based
delivery format. MasterLink is essentially a rackmountable, stereo hard
disk recorder and 24/96 CD burner with onboard DSP. With MasterLink, you
can record to an internal hard drive; apply fades, gain changes, EQ and
dynamics processing to your material; and burn down-sampled Red Book CD
premasters or proprietary-format 24-bit/96kHz CDs for archival, high-resolution
playback or transfer to 24/96 DAWs for simplified file exchange.
Given Alesis’ overwhelming success at creating industry standards
with its Lightpipe and 16- and 20-bit ADAT formats, the question as to
whether MasterLink could become the next prevailing delivery format comes
to mind. Let’s run MasterLink through its paces to see how it holds
up.
Connections
Aside from the IEC-type, detachable AC cord, the rear-panel connections
consist entirely of stereo digital and separate L/R analog I/O. AES/EBU
format digital I/O are provided on both balanced XLR and unbalanced co-ax
jacks. Balanced, +4dBu analog I/O are provided on XLR jacks. RCA jacks
service the unbalanced, -10dBV analog I/O. Word clock input is noticeably
absent.
Unfortunately, there are no pre-A/D trims for calibrating the unit with
other gear. The balanced I/O clip at +19 dBu and the unbalanced I/O clip
at +5 dBV. Most DATs can take +22 dBu. Feeding the MasterLink’s balanced
analog inputs from my 02R’s stereo bus analog outs (0 dBfs out of
the console) exceeds the MasterLink’s headroom by a hefty 6 dB.
Of course, this is not an issue if you’re using external A/D converters
with the MasterLink. But aside from headroom, there’s no compelling
reason to do so, because MasterLink’s 24-bit, 128x oversampled converters
sound truly excellent.
MasterLink offers two different modes of operation, hard disk and CD,
toggled by a front-panel button. Hard disk mode is used to record audio
to or play back from MasterLink’s 4.3GB internal hard disk, and to
create CDs from audio recorded on the hard disk. CD mode is used to play
back prerecorded CDs and to copy tracks directly from a CD to the internal
hard drive for remastering or compilation purposes. You’ll probably
be working in hard disk mode most of the time, so let’s examine that
first.
Recording and Playlist Editing
All digital outputs and inputs are hot simultaneously, so you’ll
want to be sure to hook up only the balanced or unbalanced digital inputs—and
not both—to avoid data corruption. Front-panel buttons select the
input source (analog or digital), sample rate (44.1, 48, 88.2 or 96 kHz)
and word length (16-, 20- or 24-bit) for recording to the internal hard
disk. You can choose any combination of the above sampling frequencies
and word lengths, for a total of 12 different resolutions.
MasterLink organizes data that is recorded to its hard drive into 16 playlists,
each of which can contain as many as 99 tracks. The requisite transport
buttons are offered: Play/Pause, Record, Stop, Skip Forward/Backward (to
the next/previous track) and Scan Forward/Backward (to audition audio
at increased playback speed).
Playlists and tracks can be named. You can change the order of tracks
in a playlist, delete individual tracks, and write-protect tracks independently
of one another. You also have independent control over the length of each
gap between successive tracks. The Version 1.0 software I reviewed did
not provide for CD-track offsets, but Version 2.0—which should be
out by the time you read this—reportedly will allow start/end offsets
up to 30 frames (per 75 CD frames/sec).
MasterLink provides the user with independent control over each track’s
gain from -18 to +18 dB, adjustable in 0.1dB increments up to ±10
dB and in 1dB increments beyond. You can also assign different start/end
fades and signal processing to each track (more on this in a bit).
Tracks can also be cropped to do destructive “head-and-tail”
editing of unwanted noise or dead space before or after each track. Five-second
previews of original track start/end points are provided. You move the
new start/end points by scrubbing with the forward and backward scan buttons.
A large, vacuum fluorescent, 2x16 alphanumeric display indicates all current
values for the above parameters, although you’ll have to scroll through
numerous pages to see all of the DSP-related settings. Cursor Left and
Right, Up/Yes, and Down/No buttons are used to navigate around the display
and adjust settings. A time display can be set to show either elapsed
or remaining time for a single track or entire playlist. Each track’s
start and end times and length can also be shown. Remaining hard disk
space is expressed in hours, minutes or seconds. The display’s left/right
metering could be a little easier to see, but offers good resolution and
defeatable momentary or continuous peak hold modes. A headphone jack and
volume control are also provided on the front panel.
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Reprinted with permission from Mix Magazine, June, 2000
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
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