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Emu 1820M
Emu 1820M
Whenever I am asked to write a review, I am always confronted with how to present the review, both in terms of how concise and informative it is, and also in terms of taking an unbiased view. For those that do not know me or know what I do, let me explain briefly and put to rest any misconceptions about my role when it comes to Emu/Ensoniq. I am a SoundFont developer, and for the majority of the time, I am contracted to Emu/Ensoniq for external projects entailing design work in constructing libraries and presets. This incorporates sound design work for their hardware samplers and modules and library rewrites for the Emulator X. I do not, or have ever done, work for Emu. Right, having got that out of the way, let us get on with the review. This review is for the 1820M and not for any of the other sound cards that Emu provide. For test purposes, the 1820M has been A/B tested against a Motu 828 Mk1 and using the Right Mark Audio Analyser 5.3. Out of the box, you are confronted with a slick and sexy Audiodock breakout box (which connects to the PCI 1010 card via a 3 metre cable), supplied with rubber feet to rest the box on, 1010 PCI card, Sync daughter board (this connects to the 1010 via internal ribbon cable), all necessary software, to install drivers etc and manuals, and a brief hard copy manual on the installation process. Installation was a breeze. Once installed, I couldn’t wait to get my hands dirty, so to speak, with this product. But first, here is the spec list. The brief list: from Emu
E-MU's Digital Audio Systems feature the powerful E-DSP chipset, which features a hardware-accelerated effects processor with over 20 effects plug-ins (over 500 presets). This effects architecture is fully expandable, allowing you to add more effect plug-ins to your system as needed. E-DSP also provides zero-latency, hardware-based mixing and monitoring via the included PatchMix DSP mixer, delivering unmatched flexibility in routing audio between all of your physical and virtual (ASIO/WDM) inputs and outputs- no external mixer needed. The plugins
The deeper spec list Sample Rates: 44.1, 48, 96, and 192 kHz, from internal crystal or externally supplied clock (no sample rate conversion). Bit Depth: 16 or 24 bits PCI Bus-Mastering DMA subsystem reduces CPU usage Zero-latency direct hardware monitoring w/effects Analogue line inputs-6 Type: servo-balanced, DC-coupled, low-noise input circuitry Level (software selectable):
Frequency Response: +/- .05dB, 20Hz – 20 kHz THD+N (1 kHz at -1dBFS): -110dB (.0003%) SNR (A-weighted): 120dB Dynamic Range (1 kHz, A-weighted): 120dB Stereo Crosstalk (1kHz at -1dBFS): < -115dB Common-Mode Rejection (60Hz): > 40dB Analogue line outputs-8 Type: balanced, low-noise, 3-pole low-pass differential filter Level (software selectable):
Frequency Response: 0.0/-.35dB, 20Hz – 20 kHz THD+N (1 kHz at -1dBFS): -105dB (.0006%) SNR (A-weighted): 120dB Dynamic Range (1 kHz, A-weighted): 120dB Stereo Crosstalk (1 kHz at -1dBFS) < -115dB Mic pre and line inputs-2 Type: TFPro™ combination microphone preamp and line input Frequency Response: +0.8/-0.1dB, 20Hz – 20 kHz Stereo Crosstalk (1 kHz min gain, -1dBFS): < -120dB Line Input:
Microphone Preamplifier
Phone input stereo Type: RIAA equalized phono input Frequency Response: +/-0.5dB, 50Hz – 20 kHz THD+N (1 kHz, 10mV RMS unbalanced input): -76dB (.015%) SNR (10mV RMS unbalanced input, A-weighted): 90dB Stereo Crosstalk (1kHz at -1dBFS) : < -80dB Maximum level:
Input capacitance: 220 pF Input impedance: 47K ohm Digital I/O S/PDIF:
ADAT:
Firewire:
Midi: 2 in, 2 out Here is the front and rear view of the breakout box:
As you can see, there is a huge array of routing and configuration options. Now, the hands on experience. On initial tests, I was able to attain and measure a huge 110dB dynamic range. On further tests, I attained a massive 117.9 dB spread. I am sure, in the right environment and if I wanted to push it further, that I would have attained the claimed 120Db dynamic range. To understand what this means and why it is so important, I advise you read my Tutorial ‘An introduction to digital audio’ in the sampling tutorial part1. But for those who cannot be bothered, take my word that this is an excellent dynamics range, on any card. Once launched, the Patchmix DSP allows the user to configure the card and to use the dynamics and effects much like a hardware mixer.
As you can see from the image above, you have a selection of strips, which can be created or deleted to suit the project, inserts for dynamics and effects, auxiliary sends/returns, both on the strips and the main stereo outs. And that is apart from pan, 2 auxiliaries per strip, channel fader, mute and solo buttons, pretty much what you would find on any hardware mixer. You have strips for mono, stereo, mic and line monitoring. In fact you can create strips and have them configured to taste. Final icing is that you can then name the strips for convenience and name the effects as well, not revolutionary but nice none the less. This is a very sophisticated interface and tool port for a sound card of this price range. Add to that the strip templates on opening the DSP which, additionally to the above, allow direct monitoring of the recording by sending the strip to an ASIO input, which allows for zero latency monitoring on playback. You can also send and return to a physical output for the use of effects but record dry. This is a great tool, a fold back monitoring system, vocalists will love this, to be able to hear the effects but record the dry signal. You even get test tone control thrown into the equation if you so require, for calibration protocols. By using the top right hand menu options, you can load a session, save a session, open the Effects Palette menu, select to view all the input and output configurations and so on. To dispel a myth that is going around that you cannot have 96 kHz or 192 kHz sessions, please look at the following session options.
In the images below, you can clearly see how the inputs and outputs are configured and the beauty of this is that it can stay open all the time and not hinder what is happening on the strips. INPUTS
OUTPUTS
You can even select a pre made session template and open and use that. Saves a lot of grief in having to configure the card, but once you get more adept, I advise you create your own sessions and save them. OPENING A SESSION
SAVING A SESSION
As with the Creative Audigy cards, it was always a hindrance to be locked in at 48 kHz, now you can not only have 44.1 kHz, but a selection all the way up to 192 kHz. The only niggle I found here was that once you selected 192 kHz as an option, it greatly reduced the cards options and I found that I could only achieve 2 ADAT inputs. However, many cards also share this trait, so it did not put me off too much. And when the day comes, if ever, when we work off 192 kHz, then I’m sure the card will be revised to accommodate that facility. At 96 kHz, I lost 4 of the 8 ADAT in/outs and lost the effects as well. The ADAT compromise, I can live with, but the loss of the effects did annoy me a touch as 96 kHz is a supported sample rate, albeit on better cards. Granted, most cards would actually compromise more than the 1820M under these circumstances, and maybe it’s more to do with my standard of expectation than any other reason. But then, something would have to go, and under these conditions, CPU taxing would be the first casualty. Next, we are up against the effects and dynamics. Apart from the comprehensive list of effects and dynamics available from the drop down menu, you also have excellent editing options with a drag and drop of the mouse. This is also the method used in selecting an effect on the inserts of a strip. You simply drag the effect into the strips insert boxes and drop it in. You can do multiple takes of this function as the interface is open in front of you, so, that is a nice tool to have. The following shows that, from the Effects Palette drop down menu, I have selected a reverb and inserted into a strip. I did this by simple dragging and dropping the effect into the designated box on the strip of choosing. You cannot get a simpler way of working. On other cards I have to select s drop down menu, then a sub menu, then select the effect but after selecting the strip I want it on. On this interface you can select, drag and drop the effect while still making up your mind where you want it to go, you can also do this for as many strips as have been configured for the effects, so no menu, sub menu options over and over for multi strip designated effects. I have also double clicked on the effect and the edit options are there to see and use.
You can then edit and save an effect and call it up anytime you want. Now, not only can I drag and drop the effects into a designated strip, but I can edit it on the same page. This facility is rarely adopted on similar card interfaces or even software environments, where, once you have placed the effects into the strip, you then have to load the effect on a new page, make your edits and then come back to the strip. Emu have cleverly adopted an ‘All on the same page’ type of thinking. As you can see, looking at the main stereo outs on the right, you can also insert effects and dynamics there as well and have full editing over them. On one of my sessions, I have inserted a compressor on the main outs. The effects themselves are very good. The reverbs did not move me but then I am spoilt for choice as I have so many very good reverb plugins, and even hardware ones. I found the other weirder and wackier effects a joy to use. The standard multi effects, albeit the reverbs, were also good. The dynamics were very good and I found myself continually setting up different strips, with different dynamics inserted, and toggling between these on a session, just because I’m a kid and love to play. SYNC
As you can see from the image above, not only am I seeing the output configuration (on the right top), but am also able to have extensive sync options. This gives me the advantage of seeing my entire set up and being able to best configure the card and it’s sync options, and then save the whole lot and recall it whenever I want. The beauty of this is that the page does not disappear when I select sync or any other menu option. This way I am able to see the global routings and all the strip settings, along with the sync settings. Performance? That’s the question that everyone is dying to have answered. At the start of this review I stated that I A/B tested the 1820M against my Motu 828 Mk1. Running multiple instances of audio and testing the CPU stress I found the card to be excellent, both in terms of handling audio streams and CPU usage. Latency was as stated in the settings, and under different sessions and multiple audio takes, the card still behaved impeccably, and a good resolution was always found between latency, audio presentation and CPU usage. On using Emulator X in Cubase VST, I recorded a 2 ms latency using multiple takes of audio within the ASIO settings, and also preset usage in the VSTI, standalone Emulator X, I recorded the same latency. The only instances where I found the CPU usage to climb were when using 3 different instances of reverb and also on using all the Grand Piano presets that are heavy on the voice and sample count. In this scenario, I found the CPU being stressed, but not too heavy. The card was also tested using reference cds and the results were exact. I did these tests using my Motu, which I had calibrated for optimum performance, and the 1820M. Files on both were exact with no loss to data or presentation. Reference cds gave the same detail of information on both. Test tone calibrations produced the exact legending results I expected. 44.1 kHz and 48 kHz sessions were a slight problem when converting to a higher sample rate, in that it was not possible without starting a new session. However, I just used one of the many templates that came with the DSP and it was not a problem. Converting from 44.1 kHz to 48 kHz was not an issue but above 48 kHz, I could not convert existing sessions to a higher sample rate. This, I found to be annoying, but not a deal buster. The dynamic range and performance of the card was also tested, using the RM 5.3 audio analyser, and I was extremely, and well, surprised to find that it really had a strong sonic range and there were no issues on clipping or distortion or the card not being able to handle driven sessions. I was also surprised at how well the clock behaved, jitter was kept low, and the buffer resetting speeds were admirable for a unit of this price range. Tests were also conducted to test the noise floor, now that I had the headroom and range out of the way. In that department, I was, again surprised. This is one very quiet and dynamic card. Using RM 5.3 audio analyser, I found an excellent flat frequency response on this card and neared the 120 dB dynamic range of the card. I achieved a good 117.9 dB dynamic range. Please see charts below for test results. Other little additions that I found extremely useful, and ones that would make this card appeal to a wider consumer base, were the turntable pre input, coupled with the ground lug, no more amps to drive your turntables, the 2 sets of midi in/out, mic pres, line ins and outs, for the surround sessions and the 3 metre cabling meant that I could place the breakout box wherever I wanted. To be honest, there are all sorts of nice little touches on the breakout box and the fact that it looks sexy and slick can’t be a bad thing, bearing in mind how many standard and uninventive looking devices we have in our racks. Dynamic Range Test- 117.9 dBA
Frequency Response dB- + 0.03, -0.20
Noise Level- -118.1 dBA
THD %- .0009
Conclusion I believe every once in a while a product comes along that sets the level and invites the competition to take note. For me the 1820M is that product. Sure, it has it’s little niggles. It’s small (half U) and cannot be housed in a single rack, not on both sides at either rate, the fact that it cannot change a session at 44.1 kHz to anything beyond 48 kHz and the fact that I have to compromise on losing the effects at 96 kHz and beyond (although some will say that I really am asking for the earth here) BUT this card is amazing! In terms of sonic capabilities, interface and management, delivery and presentation of audio, masses of routings options and configurations and all the sync options, this card can only be a winner. Throw in the price that is being asked for the 1820M and the daughter board and we now have a new level of competition. Buy it! Eddie Bazil (Zukan) www.samplecraze.com Since I wrote this review there have been a number of patch fixes, which also address some of the problems outlined above in my review. Please download here.
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