Hi, Trey,

When I upgraded to Windows 7 last year, I purchased an RME Fireface UFX 
which can connect via FireWire (400) OR USB 2.0.

It needs to connect via USB for firmware updates, but I have found it to 
be less of a load on the CPU when connected for normal operation via FW. 
The RME drivers are very stable. The unit sounds great. It can also act 
as a stand-alone recorder. I use it with a SDHC card reader and card 
rather than a thumb drive (most are too slow) or a HDD.

There are smaller versions of the product (the UCX) that is underpowered 
feature-wise for my tastes, but I think it sounds as good.

I've been using RME products for close to ten years now. I also have two 
Multiface II and while that might be a choice, it connects via a PCIe 
card. I bought a computer just when it was about the last with two PCI 
slots so I didn't have to spend the money on the RME upgrade from PCI to 
PCIe which would have cost as much as the computer. I have 16 tracks on 
the Multifaces and 8 tracks (plus) on the Fireface, and they can be 
locked together or running separately on two different projects.


On Tue, 5 Jun 2012 11:23:59 -0400 Trey Bunn <[log in to unmask]> wrote:
>> Hi everyone, I'm looking for some pointers on the
>> differences between
>> optical, S/PDIF, and AES connections.
>> We're upgrading the PCs in our audio studio.  Currently,
>> each
>> workstation has analog equipment plugged into an Apogee
>> Rosetta 200
>> A/D converter, which then connects to the PC via
>> FireWire.  The set-up
>> has worked well for us over the years, but it's outdated,
>> and our IT
>> people insist that we upgrade to newer machines running
>> Windows 7
>> (which also means upgrading Sound Forge).
>> Apogee is no longer supporting their X-FireWire option,
>> but according
>> to their tech support, we can continue to use the Rosetta
>> 200s if we
>> ditch the FireWire route and instead connect via optical,
>> S/PDIF, or
>> AES.  The Rosetta has each of these connections, and
>> presumably, we'd
>> need to get our new PCs outfitted with at least one of
>> the same.
>> Anyone have advice on which of these three is the best to
>> go with?
>> This is for straight, no-frills analog to digital
>> conversion for
>> preservation of old recordings, not anything for fancy
>> production.
>> Just plain, as-close-to-the-original-as-possible
>> transfers.
>> -- 
>> ---------
>> Trey Bunn
>> Audiovisual Conservator
>> Emory University Libraries
>> Preservation Office
>> Atlanta, GA
>> 404-727-4894

Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
Quality tape transfers -- even from hard-to-play tapes.