Can pulsar and TC powercore work together on the same machine?
Kim
pulsar and TC powercore
Velkommen 
But why add a Powercore ? It sucks. (In my not so humble opinion).
It's plugins doesn't sound very good, and it introduces extra latency...
A better idea would be to get the Sonictimeworks plugins and get some extra Creamware DSP's.
If you really want a VST card, go for the UAD-1: It's cheaper and sounds a hell lot better.
Kim.
But why add a Powercore ? It sucks. (In my not so humble opinion).
It's plugins doesn't sound very good, and it introduces extra latency...
A better idea would be to get the Sonictimeworks plugins and get some extra Creamware DSP's.
If you really want a VST card, go for the UAD-1: It's cheaper and sounds a hell lot better.
Kim.
TC and UAD-1 all sound better than creamware's
TC have more plugs
UAD-1 have the best compressors.
UAD-1 and TC will have the same latency problem but if you system is powerfull enought to set ASIO latency at 13ms or lower, then it's not a big deal
go for creamware might cause none sufficent PCI bandwith, and not very pro quality, 3rd parties are pro sounding but bad DSP optimization(mostly)
TC have more plugs
UAD-1 have the best compressors.
UAD-1 and TC will have the same latency problem but if you system is powerfull enought to set ASIO latency at 13ms or lower, then it's not a big deal
go for creamware might cause none sufficent PCI bandwith, and not very pro quality, 3rd parties are pro sounding but bad DSP optimization(mostly)
I'm still seeing new things in life.
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You may be right for the compressors.....
But keep in mind, even when an engineer would have all the tools in the world, he would not choose 1176, LA-2A on everything. What I want to say by that is that you might carry your mixes too far to the 80´s.... It always depends on the application and situation. Also those kind of "sterile" sounding TC-things can be exactly the right tools when no additional analog distortion should be added and no coloration should take place. Having UAD-1 on everything whould mean to have something like an UAD console, which does not exist and wouldn´t be the first choice for anyone. There always has to be the right balance. Some people love the sound of an SSL, but personally I think the sound of a SSL is too far away from neutral. I compared the timeworks stuff to many other things in this world, and I felt they have just the right amount of coloration to not have to colorate your material once again. "Transparency" is getting more and more important in nowadays productions! A piece of gear that's more transparent has less audible effect on the signal. Less artifact (distortion & etc) It doesn't hype the signal...doesn't add warmth, air, gizz...anything. That´s the reason why manufacturers like TC do have encreasing sales. On the Sony Oxford console you´ll find the most transparent and versatile compressors and EQ´s. But they do not sound "hot" or "warm". But it also depends on whether you use something for tracking, mixing or mastering. For tracking I also love warm sounding gear, but for mixing I´d rather prefer something more neutral and balaced. So IMO everything has its justification somehow....
Regards,
Sunshine
But keep in mind, even when an engineer would have all the tools in the world, he would not choose 1176, LA-2A on everything. What I want to say by that is that you might carry your mixes too far to the 80´s.... It always depends on the application and situation. Also those kind of "sterile" sounding TC-things can be exactly the right tools when no additional analog distortion should be added and no coloration should take place. Having UAD-1 on everything whould mean to have something like an UAD console, which does not exist and wouldn´t be the first choice for anyone. There always has to be the right balance. Some people love the sound of an SSL, but personally I think the sound of a SSL is too far away from neutral. I compared the timeworks stuff to many other things in this world, and I felt they have just the right amount of coloration to not have to colorate your material once again. "Transparency" is getting more and more important in nowadays productions! A piece of gear that's more transparent has less audible effect on the signal. Less artifact (distortion & etc) It doesn't hype the signal...doesn't add warmth, air, gizz...anything. That´s the reason why manufacturers like TC do have encreasing sales. On the Sony Oxford console you´ll find the most transparent and versatile compressors and EQ´s. But they do not sound "hot" or "warm". But it also depends on whether you use something for tracking, mixing or mastering. For tracking I also love warm sounding gear, but for mixing I´d rather prefer something more neutral and balaced. So IMO everything has its justification somehow....
Regards,
Sunshine