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Terratec EWS88D Manual
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Welcome to TerraTec Producer!
We hope that youre already curious about what wed like to present to you on the next pages. By all means we can guarantee that its all about the needs of professional musicians and producers. No matter if youre into multi I/O recording or analog technique, practical solutions will satisfy your needs in terms of ProAudio whether in the studio, at home or even on the road. The PHASE product range offers professional digital audio technique. Here youll find high quality hardware that will meet all wants and needs: The full range from a 2 channel audio system, mobile FireWire and USB solutions to multi I/O recording interfaces.
Mixers, amplifiers, filters, tuners and much more the SINE series provides studio basics and specials of first-class quality. SINE provides you with clever analog technique that will greatly ease your life as a home recording specialist, instrumentalist or audio producer. Especially guitarists and bass players will like the AXON AX 100 Guitar-to-MIDI Controller of the latest generation as well as the SINE CTchromatic racktuner. Of course weve also kept the useful little things in mind: MIDI interfaces, digital converters, phono preamps
Enjoy! The TerraTec Producer Team
MIC Series
Multi I/O Audio System
PHASE 88 Rack
External Audio System
PHASE 24 FireWire
Audio System
AUREON 7.1 FireWire
Guitar-to-MIDI Controller
SINE Mixers
4 & 8 Stereo Channel Mixers
SINE Instruments
Bass Synthesizer & Multimode Filter
SINE Amps
Compact Power & Headphone Amps
SINE DI & Tuner
Direct Inject & Rack Tuner
EWS 88 D / EWS ClockWork
ADAT & WordClock Solutions
MIDI Hubble
MIDI Interface/USB 1.1 Hub
Vice Versa
S/PDIF Converter
Phono Preamp USB
Vinyl Restoration Solution
Featuring Multi I/O FireWire or PCI Bus: The state of the art in digital audio interfaces
With the EWS MIC 2/MIC 8 series, TerraTec Producer offers a line of digital audio interfaces boasting state-of-the-art, astonishingly versatile technology and builtin microphone inputs in premium SPL quality. The EWS MIC 2/MIC 8 series is one of the worlds most advanced and most powerful digital audio interface solutions. Satisfying all standards for professional studios and offering 24 Bit/96 kHz PHASE 88 PCI bus card (or FireWire) and ADAT interfaces, EWS MIC 2/ MIC 8 systems are tailormade for audio, video and interactive media applications. Developed in cooperation with SPL the renowned specialist for professional studio equipment EWS MIC 2/MIC 8 systems deliver audio in a level of quality
The audio center for any production environment
The systems open, modular interfaces connect to external equipment via PHASE 88 PCI bus card (or FireWire) and ADAT, the latter being the preferred option in studios. And that makes EWS MIC 2/ MIC 8 devices the flexible switching center for every studio. In addition to eight analog inputs and outputs, the 1 HU 19" chassis features digital ADAT and S/PDIF ports, a MIDI interface, and a WordClock (BNC) port, as well as an adjustable headphones output on the front panel.
with intensity controls for all input channels, and the channels can be muted separately or routed directly to the corresponding output. This means that without computers, the system can serve in numerous applications as a no-fuss standalone preamplifier as well as a convenient mixer. EWS MIC 2/8 systems ship with easy-touse control panel software offering comprehensive routing and signal conversion options, making these interfaces the nerve center of every recording application. Analog, S/PDIF and even ADAT signals can be converted and routed flexibly via mouse click. Advanced WDM, ASIO, and GSIF (PCI version only) drivers ensure the software runs smoothly on all current operating systems for Macintosh and Windows computers.
Individual configuration of your recording sessions
At the heart of the system is a microphone preamp stage powered by low-noise operational amplifiers. The EWS MIC 8 sports eight of these amplifiers, while the EWS MIC 2 offers two. All eight inputs on both devices can also accept line signals. The front panel offers two audio channels equipped with XLR/ 1/4" (combo) inputs. The many signal routing options enable recordists to configure
previously unrivalled in this price class. The finest analog circuits married to sophisticated digital signal processing - EWS MIC 2/MIC 8 systems afford musicians the best of both worlds in a single device!
their studio setups flexibly for the most diverse recording sessions without having to re-connect signal-carrying cords! All inputs and outputs are balanced for lowest noise signal routing. The rack module is equipped
24 Bit/96 kHz Multi I/O FireWire or PCI-Bus Interface
real competence
Technical Data 19 Module External 19" module with integrated power supply and automatic voltage/frequency detection PCI Bus and ADAT interface (FireWire interface optional) 24 Bit/96 kHz A/D converter with 105 dB (A) SNR*, typically 106 dB (A) @ 48 kHz 24 Bit/96 kHz D/A converter with 106 dB (A) SNR*, typically 109 dB (A) @ 48 kHz 8 channels analog I/O, balanced XLR plus 6.3 mm jacks (Neutrik combo) - balanced 8 front panel gain knobs for analog inputs (20 dB control range) 8 front panel input signal and clipping LEDs 2 front panel XLR plus 6.3 mm (1/4") Mic INs as alternatives to inputs 7 and 8 (auto priority) Switchable input for microphone and line/instrument levels 8 high-quality microphone preamps (2 on the EWS MIC 2), developed in cooperation with SPL Germany Front panel Direct Out switch for all analog channels Phase, Low Cut (subsonic noise filter) and Mute buttons for every microphone channel 48 volt phantom power for all microphone channels Front panel headphones output for master signal monitoring (separate DAC/amplifier) ADAT I/O interface (Light Pipe/TOS Link) TOS Link interface for ADAT and S/PDIF formats Each stereo pair can be routed separately to ADAT or analog audio 2 separate MIDI interfaces with 32 channels in total WordClock I/O (BNC) with auto detection Globally switchable +4 dBu/-10 dBv output level Flexible connection options: FireWire, PHASE 88/EWS88 PCI card or ADAT interface EWS MIC 2 and EWS MIC 8 can also be operated without a computer (e.g., as a Mic. preamp, ADAT AD/DA interface, DI box, etc.) PCI Bus Card Busmaster transfer support 24 Bit 4 Byte mode (32 Bit) Simultaneous recording and playback of 16 channels at up to 24 Bit/96 kHz 2 channel digital input (S/PDIF, coax with up to 24 Bit/96 kHz) 2 channel digital output with (S/PDIF, coax with up to 24 Bit/96 kHz) 20 channel mixer with 36 Bit internal resolution EWS Connect port** Non-Audio Mode for transmitting AC3 or DTS streams via digital interfaces Control panel features a dedicated hardware VU for each channel 4 m connecting cable to the MIC 19 module Software/Driver WDM driver for Windows 98SE/ME/2000 (PCI version only) and Windows XP Core Audio and Core MIDI support for Mac OS 10 (X) ASIO 2.0 and GigaStudio (GSIF) support (PCI version only) ASIO/GSIF Multi-Client mode WDM Kernel Streaming, e.g. for Sonar MME and DirectSound support Control panel for Windows 98SE/ME/2000 XP and Mac OS X System Requirements PC Pentium III 800 MHz or higher 128 MB RAM PCI version: Windows 98SE, ME, 2000 or XP FireWire version: Windows XP with Service Pack 1 (SP1) System Recommendations PC PentiumGHz, Celeron 2 GHz or AMD AthlonXP GHz 512 MB RAM Windows XP with Service Pack 1 or higher System Recommendations MAC G5 1,8 GHz 512 MB RAM MAC OS X Panther 10.3 or higher
*) This information depends on the technical data of the converter used **) You can cascade and synchronize PHASE 88, EWS 88 MT/D and EWS MIC 2/8 PCI audio systems. You can control up to four systems in one PC with only one driver and one Control Panel.
8 balanced analog XLR inputs 8 balanced analog XLR outputs 24 Bit/96 kHz AD/DA converters High-quality microphone pre-amp developed in cooperation with SPL Gain controls for all input channels ADAT digital I/O and S/PDIF digital optical I/O 2 separate MIDI interfaces PCI or FireWire interface alternatively
System Requirements MAC GMHz or higher 256 MB RAM MAC OS 10 (X)
48 V Phantom Power Front Front Gain Knobs EWS Connect GIGA Compatible Balanced Analog I/Os 24 Bit/96 kHz S/PDIF MIDI I/O WordClock ordClock ASIO
High class performance with alternative PCI or FireWire interface:
The PHASE 88 Rack is the flexible audio center for your home or project studio.
With the TerraTec Producer series 24 Bit/96 kHz PHASE 88 Rack audio system, youre well-equipped to handle any tasks in your home or project studio, now and in the future. Eight analog inputs and outputs (balanced 1/4 TRS jacks) give you the room and technology you need, even for larger recording sessions. All inputs can be controlled individually via gain controls on the front panel and feature clipping LEDs to warn of unintended distortion.
A WordClock I/O ensures optimal synchronized connections to external digital equipment, and two independent MIDI interfaces give you 32 MIDI channels to work with that should be enough for anyone. Thanks to its sophisticated board design and proven converters, the system delivers outstanding audio quality: a signal-to-noise ratio of 110 dB speaks for itself. The PHASE 88 Rack system also is future-proof: if necessary, you can easily replace the rack modules PCI connection with an optional FireWire (IEEE 1394) interface.
Speaking of enough:
If you ever need more connections than the standard selection of the PHASE 88 Rack system, thats no problem: up to four PCI devices can be cascaded with a single driver, giving you no less than 40 audio channels for simultaneous use.
Switchable phantom power
Two of the channels can be adapted to microphone use at the press of a button with XLR sockets and switchable 48 V phantom power. A two channel digital I/O (S/PDIF) with alternative coaxial (PCI version)
8 balanced analog inputs
or optical (FireWire version) connectors is available for your DAT recorder and other digital equipment.
8 balanced analog outputs 24 Bit/96 kHz AD/DA converters Microphone pre-amp with 48 V phantom power Gain controls for all input channels S/PDIF, AC3 and DTS digital I/O 2 separate MIDI interfaces PCI or FireWire interface alternatively
24 Bit / 96 kHz Recording System Bit/
24 Bit / 96 kHz
Technical Data 19 Module External 19 device (1U) with PCI or IEEE 1394 interface card 8 balanced analog 1/4 (TRS) input jacks 8 balanced analog 1/4 (TRS) output jacks 8 gain controllers on the front side (20 dB adjustment range) 8 input signal and clipping LEDs on the front side 2 XLR/6.3 mm jacks Mic Ins (front side) as alternatives to inputs 7 and 8 Inputs 7 and 8 switchable between line and mic level 48 V phantom power (switchable) External power supply, 230V/50Hz or 110V/60 Hz to 12V AC 2 separate MIDI interfaces with 5-pin DIN connector 24 Bit/96 kHz A/D converters with 100 dB (A) SNR*, typically 100 dB (A) @ 48 kHz 24 Bit/96 kHz D/A converters with 110 dB (A) SNR*, typically 109 dB (A) @ 48 kHz WordClock I/O with auto detection PCI Version PHASE 88 PCI card 4 m cable to the PHASE 88 Rack module 10 inputs and 10 outputs in total Digital input with 2 channels (coax. S/PDIF, 24 Bit/96 kHz) Digital output with 2 channels (coax. S/PDIF, 24 Bit/96 kHz) 20 channel mixer with 36 Bit internal audio resolution None-Audio Mode for transferring AC3 or DTS via Digital Out Hardware VU-Meter for each channel (displayed in the control panel) Busmaster transfer supports 24 Bit 4 Byte mode (32 Bit) EWS-Connect link** FireWire Interface Version IEEE-1394 FireWire interface for PC/Mac 2 high-speed FireWire Ports ASIO 2.0 support for all inputs and outputs Advanced DSP hardware monitor mixer 10 inputs and 10 outputs in total Digital input with 2 channels (optical S/PDIF, 24 Bit/ 96 kHz) Digital output with 2 channels (optical S/PDIF, 24 Bit/ 96 kHz) MME and DirectSound support Control panel for Windows 98SE/ME/2000 XP and Mac OS X System Requirements PC Pentium III 800 MHz or higher 128 MB RAM PCI version: Windows 98SE, ME, 2000 or XP FireWire version: Windows XP with Service Pack 1 (SP1) System Requirements MAC GMHz or higher 256 MB RAM MAC OS 10 (X) System Recommendations PC PentiumGHz, Celeron 2 GHz or AMD AthlonXP GHz 512 MB RAM Windows XP with Service Pack 1 or higher System Recommendations MAC G5 1,8 GHz 512 MB RAM MAC OS X Panther 10.3 or higher
None-Audio Mode for transferring AC3 or DTS via Digital Out VU-Meter for each channel (displayed in the control panel) ASIO/WDM multi-client mode Software/Driver WDM driver for Windows 98SE/ME/2000 (PCI version only) and Windows XP Core Audio and Core MIDI support for Mac OS 10 (X) ASIO 2.0 and GigaStudio (GSIF) support (PCI version only) ASIO/GSIF Multi-Client mode WDM Kernel Streaming, e.g. for Sonar
Windows 98SE-XP MAC OS X EWS Connect GIGA Compatible AC3/DTS 24 Bit/96 kHz S/PDIF MIDI I/O WDM ASIO Eight high quality analog input and output converters process audio signals (continuously from the hardware to the software) at resolutions of up to 24 Bit/96 kHz. The converters of the PHASE 88 are located together with the high resolution MIDI interface in a 4" breakout box, which can / be placed both in the computer or externally.
Perfect sound and expandable modular I/O solution:
The PHASE 88 audio system turns your PC or MAC computer into a professional recording system! The complete recording system
This makes the PHASE 88 a complete recording system; even without an additional mixing console. An additional digital input and output (coaxial) on the PCI Bus card provide the perfect connection to the digital studio environment. You can synchronize and cascade up to four PHASE 88 recording systems within one computer. This makes it possible to expand the system to up to 40 physical inputs and outputs and 64 MIDI channels, while keeping the CPU load to a minimum.
Brilliant recordings thanks to clever circuit design
Based on tried and trusted TerraTec technology, the optimized converter modules and well thought out circuit design of the PHASE 88 allow perfect recordings of up to eight tracks simultaneously and also playback of 5.1 or 7.1 surround productions.
To take full advantage of the superb dynamics of the 24 Bit converters, the board of the PHASE 88 is equipped with a 20 channel hardware mixing console with 36 Bit internal resolution and 20 in 4 routing.
Each input channel has its own analog circuit, switchable between +4 dBu (2,1 Vrms) and -10 dBv (0,55 Vrms), and an adjustable signal amplifier for up to 18 dB. Channel monitoring is absolutely latency free and the ASIO 2.0 driver performance offers latency times of below 3 ms.
24 Bit/96 kHz Multi I/O Recording Interface
Technical Data PCI audio interface with shielded 5 breakout box 4 m connecting cable between PCI card and breakout box A total of 10 inputs and outputs (expandable to 40 inputs and outputs) 8 analog inputs, cinch, switchable between +4 dBu and -10 dBv Input control with +18 dB accentuation in 0.5 dB steps 8 analog outputs, cinch, switchable between +4 dBu and -10 dBv Coaxial digital input, cinch Coaxial digital output, cinch MIDI interface with 5-pin DIN connectors Up to 24 Bit/96 kHz signal processing of the analog and digital inputs and outputs Coaxial digital interface for S/PDIF, AC3 or DTS formats 24 Bit/96 kHz A/D converter with 100 dB (A) SNR*, typically 100 dB (A) 24 Bit/96 kHz D/A converter with 110 dB (A) SNR*, typically 109 dB (A) Hardware VU meter for every channel on the Control Panel Bus master transfer supports "24 Bit 4 Byte Mode (32 Bit) EWS Connect for synchronized cascading of additional PCI systems** Software/Driver WDM driver for Windows 98SE/ME/2000 (PCI version only) and Windows XP Core Audio and Core MIDI support for Mac OS 10 (X) ASIO 2.0 and GigaStudio (GSIF) support ASIO/GSIF Multi-Client mode WDM Kernel Streaming, e.g. for Sonar MME and DirectSound support Control panel for Windows 98SE/ME/2000 XP and Mac OS X
System Requirements PC Pentium III 800 MHz or higher 128 MB RAM PCI version: Windows 98SE, ME, 2000 or XP System Requirements MAC GMHz or higher 256 MB RAM MAC OS 10 (X) System Recommendations PC PentiumGHz, Celeron 2 GHz or AMD AthlonXP GHz 512 MB RAM Windows XP with Service Pack 1 or higher System Recommendations MAC G5 1,8 GHz 512 MB RAM MAC OS X Panther 10.3 or higher
8 analog inputs, switchable between +4 dBu and -10 dBv 8 analog outputs, switchable between +4 dBu and -10 dBv 24 Bit/96 kHz signal processing of the analog and digital inputs and outputs Coaxial digital interface for S/PDIF, AC3 or DTS formats 4 m connecting cable between PCI card and breakout box 24 Bit/96 kHz A/D converter with 100 dB (A) SNR 24 Bit/96 kHz D/A converter with 109 dB (A) SNR
Perfect sound and strong connections:
The PHASE 28 audio system lets you enter the world of professional studio recording!
W indows 98SE-XP MAC OS X 24 Bit/96 kHz In 24 Bit/192 kHz Out GIGA Compatible AC3/DTS S/PDIF MIDI I/O WDM ASIO 2.0
With two balanced inputs and eight balanced outputs, MIDI and multipurpose digital I/Os, the PHASE 28 offers a variety of connection options spanning all directions. All analog connections are designed for 1/4 (6.3 mm) TRS jacks and produce studio levels. The finest converter components and a well-thought-out board design allow crystalclear recording in stereo and the reproduction of high-resolution 7.1 surround productions. All analog outputs as well as the digital output of the PHASE 28 system process audio signals with a futuristically impressive 24 Bit/192 kHz resolution. The sensitivity of both inputs makes it possible to adjust to separate analog sources using the gain regulator on the slot bracket plate. Furthermore, two signal LEDs on the slot bracket plate indicate optimized recording level of the excellent pre-amplifiers.
can also count on their superior performance. The driver architecture, which has been fully developed and is often used as a standard, guarantees lowest latencies and a neat interplay with the audio platform of your choice. Multiple connection options, proven technology and outstanding audio performance for MAC or PC do not need to be expensive:
PHASE 28 the pro system with a bargain price
TerraTec's professional system PHASE 28 combines advanced audio features with a price that will make both professional and amateur ears perk up.
Best conditions for flexible audio routing
The coaxial digital interface of the PHASE 28 PCI board lets you receive S/PDIF, AC3 and DTS data streams at all usual sample rates of up to 32 Bit. Furthermore, the output can process sampling frequencies of up to 192 kHz meeting absolutely the best prerequisites for a flexible audio network using Steinberg's VST System-Link! ASIO, GSIF, MME, WDM, OSX or XP: on the software side, not only can you count on the field's most popular abbreviations, but you
24 Bit/192 kHz Multi I/O Recording Interface
Fruityloops Edition
Technical Data PCI audio interface Playback of 8 analog channels at up to 24 Bit/192 kHz Recording of 2 analog channels at up to 24 Bit/96 kHz Balanced analog 1/4 (6.3 mm) TRS jacks Coaxial digital interface for S/PDIF, AC3 or DTS formats Stereo digital input with 24 Bit/96 kHz resolution and hardware sample-rate detection Stereo digital output with 24 Bit/192 kHz resolution None-audio mode for transfer of AC3 or DTS streams via the digital interface VU meter for each channel on the software Control Panel 24 Bit/96 kHz A/D converter with 106 dB(A) SNR*, typically 105 dB(A) 24 Bit/192 kHz D/A converter with 102 dB(A) SNR*, typically 100 dB(A) 2 gain controls on the slot bracket plate for adjusting the analog input levels (ranged from -19 dB to +12 dB) 2 peak LEDs on the slot bracket plate MIDI interface with 16 channels Busmaster transfer supports "24 Bit 4 Byte Mode" (32 Bit) EWS Connect link for synchronized cascading of additional PCI systems**. Software/Driver WDM driver for Windows 98SE/ME/2000 (PCI version only) and Windows XP Core Audio and Core MIDI support for Mac OS 10 (X) ASIO 2.0 and GigaStudio (GSIF) support ASIO/GSIF Multi-Client mode WDM Kernel Streaming, e.g. for Sonar MME and DirectSound support Control panel for Windows 98SE/ME/2000 XP and Mac OS X System Requirements PC Pentium III 800 MHz or higher 128 MB RAM PCI version: Windows 98SE, ME, 2000 or XP System Requirements MAC GMHz or higher 256 MB RAM MAC OS 10 (X) System Recommendations PC PentiumGHz, Celeron 2 GHz or AMD AthlonXP GHz 512 MB RAM Windows XP with Service Pack 1 or higher System Recommendations MAC G5 1,8 GHz 512 MB RAM MAC OS X Panther 10.3 or higher
*) This information depends on the technical data of the converter used **) You can cascade and synchronize PHASE 28 and PHASE 22 audio systems. You can control up to four systems in one PC with only one driver and one Control Panel.
2 balanced analog inputs, 1/4 (6.3 mm) TRS jacks 8 balanced analog outputs, 1/4 (6.3 mm) TRS jacks 24 Bit/96 kHz signal processing of the analog and digital inputs 24 Bit/192 kHz signal processing of the analog and digital outputs 105 dB signal-noise ratio (A evaluated) of the analog inputs 100 dB signal-noise ratio (A evaluated) of the analog outputs MIDI interface and S/PDIF digital I/O Low Latency ASIO 2.0, GSIF and WDM kernel streaming support
Record your music where you want to:
PHASE 26 USB is the perfect recording system for mobile music productions!
W indows 2000/XP MacOS 9/X Firmware Firmware Flash Bus- or Self-Powered Self-Powered Phono (MM) Input 24 Bit/96 kHz S/PDIF MIDI I/O Microphone Microphone In Headphone Out
The multiple awarded top performance of the TerraTec audio cards is now available as a handy 4 module! The PHASE 26 / USB system provides your notebook or PowerBook with all connections necessary for spontaneous mobile recording sessions and also ports for flexible professional studio use in no time at all.
combinations of channels, sample- and bitrates at the push of a button. Furthermore, you can choose if you want to power your PHASE 26 USB directly via USB or by the help of an external power supply.
The complete mobility package
The specially chosen bundle software including Algoritmix Sound Laundry for restoring your old vinyl records complete the great package. No matter if you work mobile or in your studio with it's perfect sound, ease of use and well thought out features TerraTec's professional system PHASE 26 USB takes creativity back to where it belongs: into your ears!
PHASE 26 USB pure connectivity
With two flexible inputs and six discrete output channels as well as MIDI and digital I/Os the PHASE 26 USB module gives you a great variety of possibilities to connect your audio equipment. High-grade converter units and most accurate circuit layout result in a refreshing clear sound with an audio resolution of up to 24 Bit/96 kHz and with an actual dynamics range of more than 100 dB(A) at the outputs. Special ASIO and MIDI drivers for Windows and CoreAudio/MIDI drivers for MAC OS X are provided for an optimal integration into the operation system of your choice.
With these low latency drivers you will be able to play your software synthesizers with a stunning, hardware-like performance. A variety of configurations that can be directly switched at the module always guarantee the best use of the Universal Serial Bus's bandwidth and provide you with reasonable
24 Bit/96 kHz Audio MIDI USB Interface
Technical Data External USB device (USB 1.1) 3 analog stereo outputs (rear side), line level max. 2,1 Vrms, Cinch (RCA) 1 analog stereo input (rear side), line level max. 2,1 Vrms, Cinch (RCA) 1 analog stereo input (front side), line level max. 2,1 Vrms, Cinch (RCA) 1 analog stereo output (front side), line level max. 2,1 Vrms, Cinch (RCA) 1 analog stereo phono input (front side) for moving magnet systems max. 12 mV, Cinch (RCA) 1 analog mono microphone input (front side), 1/4 (6.3 mm) TRS jack 1 digital stereo in/output (front side), TOS-Link, optical, 24 Bit/96 kHz 1 digital stereo in/output (front side), coaxial, electrical, 24 Bit/96 kHz 1 MIDI in/output, (rear side), 5-pin DIN Microphone input control range: 9 mV - 500 mV Headphone output power: 36 mW Impedance of the line outputs: 220 Ohm Impedance of the line input: 10 kOhm Signal-to-noise ratio of the A/D converter, weighted: 97 dB (A) Signal-to-noise ratio of the D/A converter, weighted: 106 dB (A) 24 Bit/96 kHz A/D converter with 98 dB dynamic range (SNR)* 24 Bit/96 kHz D/A converter with 106 dB dynamic range (SNR)* System Requirements PC Pentium III 800 MHz or higher 128 MB RAM PCI version: Windows 2000 or XP System Requirements MAC GMHz or higher 256 MB RAM MAC OS9 (ASIO only) and OS 10 (X) System Recommendations PC PentiumGHz, Celeron 2 GHz or AMD AthlonXP GHz 512 MB RAM Windows XP with Service Pack 1 or higher System Recommendations MAC G5 1,8 GHz 512 MB RAM MAC OS X Panther 10.3 or higher *) This information depends on the technical data of the converter used
FEATURE HIGHLIGHTS: Six (5.1) analog outputs with studio output level
Stereo input for line/studio devices Stereo input with preamp for turntables Mono input for microphones with gain control Headphone output with volume control S/PDIF digital I/Os, coaxial and optical MIDI input and output
Software/Driver MME- and DirectSound support for Windows 2000 and Windows XP (generic USB audio driver) Core Audio/MIDI support for MAC OS X (system USB audio driver) ASIO 2.0 support for Windows and MAC OS 9 WDM kernel streaming (e.g. for Sonar) DirectSound 3D Special Control Panel for Windows 2000/XP Firmware Flasher for Windows und MAC OS X
FireW ire FireWire Digital I/O MIDI I/O
Full control and eye-catching design: PHASE 24 FW
24 Bit/192 kHz analog 24 Bit/96 kHz digital ASIO WDM AC3/DTS W indows XP MAC OS X
The TerraTec PHASE 24 FW combines fine design and superior specs. Regardless of whether you're using the PHASE 24 FW on the move with your notebook or at home with your PC or Mac this versatile audio system cuts a fine figure in any situation. Simply connect the sleek case to the FireWire port of your computer for fast, uncomplicated data exchange. The required cables and adapters are included, of course.
Sophisticated technology for all purposes
The PHASE 24 FW unites proven high-tech with innovative ideas and exclusive design into a harmonious whole. In the club and in the studio.
Additional Equipment? No problem!
The two analog mono inputs and outputs have been realized as professional, balanced
1 4" /
jacks the studio standard simplifies
the connection of additional equipment. DJs, for example, can create mixes on their laptops using applications such as Native Instruments Traktor, add an external beatbox, insert effects between the PHASE 24 FW and the computer, and control it all via a MIDI keyboard. Or resample via the digital I/O. An additional Stereo-out has an adjustable level and can be used as a line or headphone output. You always have complete control over brilliant, full soundthanks to 24 Bit/192 kHz signal processing and a signal-to-noise ratio of 114 dB at the converter.
24 Bit/192 kHz Audio Interface
Technical Data External FireWire audio interface 2 analog input channels, 1/4" jack, balanced 2 analog output channels, 1/4" jack, balanced 1 analog stereo output, 1/4" jack, usable as Line Out or adjustable headphone output. Coaxial digital input, cinch Coaxial digital output, cinch MIDI interface with 5-pin DIN connection Analog playback with up to 24 Bit/192 kHz resolution Analog recording with up to 24 Bit/192 kHz resolution Digital playback with up to 24 Bit/96 kHz resolution Digital recording with up to 24 Bit/96 kHz resolution Digital interface for S/PDIF, AC3 and DTS formats 24 Bit/192 kHz A/D transformer with 110 dB (A) SNR* 24 Bit/192 kHz D/A transformer with 114 dB (A) SNR* 2.2 V RMS output level Software WDM driver for Windows XP SP1 Core Audio and Core MIDI support for Mac OS X Support for ASIO 2.0 Windows only ASIO and WDM multiclient support Windows only WDM Kernel Streaming (e.g. Sonar) Windows only Support for MME and DirectSound Windows only Control Panel for Windows XP SP1 and Mac OS X System Requirements PC Pentium III 800 MHz or higher 128 MB RAM FireWire port PCI version: Windows 2000 or XP System Requirements MAC GMHz or higher 256 MB RAM FireWire port MAC OS9 (ASIO only) and OS 10 (X)
External Audio Solution
Technical Details 8 analog outputs (Cinch) 24 Bit/192 kHz Analog stereo Line Input (Cinch) 24 Bit/96 kHz Phono Input stereo (Cinch) with Hardware RIAA and 24 Bit/96 kHz Headphones Output (6.3mm Jack) with Volumecontrol 24 Bit/192 kHz Microphone Input (6.3mm Jack) with Gain Control and Peak LED (24 Bit/96 kHz) Optical Digital S/P DIF Input (TOS Link) 24 Bit/96 kHz Optical Digital S/P DIF Output (TOS Link) 24 Bit/96 kHz Non Audio output on Digital Output (AC-3) IEEE-1394 compliant Interface for PC/Mac (FireWire) Hot plugging capable Buspowered Optional external power supply ASIO 2.0 Support for all In- and Outputs IR remote control with application Software Driver for PC (Windows XP) Control Panel for Windows XP Remote control application Algorithmix Sound Rescue TerraTec Edition 2.0 System Requirements/Recommendation Windows XP with Service Pack 1 One free IEEE-1394 (FireWire/iLink) port Intel Pentium III or AMD K6 III 600 or higher 256 MB system memory DirectX 8.1 compatible 32 MB 3D video card CD-ROM drive/DVD-ROM drive (for DVD playback) 100 MB free hard disk space
The high tech Guitar-to-MIDI Controller:
The AXON AX 100 system for all electric/acoustic guitars and basses!
MIDI and guitar two different worlds until now. With the AXON AX 100, the technical problems involved in connecting electric or acoustic guitars and basses to the MIDIfied studio world are finally a thing of the past.
Everything is possible even at the same time. With the 12 play area zones, the AXON AX 100 even makes your guitar multitimbral you can play different instruments by splitting the fretboard, strings or pickups!
Optional connecting pedals and buttons add effects and even more variety to your playing as does the built-in arpeggiator. Listen for yourself: The AXON AX 100 marks the beginning of a whole new era for guitarists and bass players.
The ultra-fast guitar-to-MIDI controller in a single-unit rack mount has an early recognition system which evaluates the impulses from the strings as soon as they are picked and converts them into values for pitch, dynamics and length. A 32 Bit RISC processor makes it possible, opening up a whole new world of music to the guitarist.
Never again will you have to change guitars to produce a different sound just switch the MIDI channel. On the AXON AX 100, you can either choose from 128 presets or trigger external sound devices such as samplers and synthesizers. Then, depending on the sound generator you are using, a guitar can become a synthesizer, an electric piano or a saxophone.
Legendary sounds reborn
The simplest thing is to simply trust your ears. The 10 control knobs on the front panel will have you experimenting in no time. Tweak the cutoff, resonance and envelope modulation, the pulse width of the square and suboscillator.
SINE MB 33 II 100% analog audio synthesis VCO switchable between square wave and sawtooth Switchable suboscillator 18 dB low-pass filter
Experts will recognize its kinship to legends
wave, or the ratio of square wave/sawtooth
The sound of the 70s with todays technology MIDI Analog Multimode Filter
TerraTec's multimode filter cleverly enhances the circuitry of the legendary EDP Wasp synthesizer from 1978 with the latest MIDI control and program memory. The heart of the 19" (1U) unit is the VCF with high-pass, bandpass, lowpass and notch modes and an attenuation slope of 12 dB which can be manipulated in many different ways.
the SINE WARP 9
The greatest choice
Envelope and LFO, but also MIDI data such as velocity, note value or modulation wheel can be used to manipulate the filter frequency. The envelope can be triggered via an analog input, the LFO can be synchronized to the MIDI clock nothing is impossible. Any changes to the 10 control knobs and 5 buttons on the front panel are output via MIDI and recorded via the sequencer. Your program settings can be stored in one of 32 memory slots.
SINE WARP 9 MIDI-controllable 12 dB filter with resonance Low-pass, high-pass, bandpass and notch filter Volume modulation through VCA Analog trigger input Switchable distortion effect Control positions sent and received via MIDI Filter modulations: LFO, envelope and MIDI combinable 32 program memory slots
SINE AMPS Independence par excellence the SINE HP 48 A class of its own the SINE PA series
A 24-channel mixer, digital recorder, and plenty of synthesizers and each one has its own headphone output. With the SINE HP 48 you can avoid the annoyance of replugging your headphones not to mention arguments over the headphones when several musicians are in the studio at the same time. The four powerful stereo amps of the 19" unit can process an equal number of independent input signals applied to the jack sockets on the rear panel. Naturally, each channel has its own volume control. The front panel has sockets for up to 8 headphones. Thanks to the flexible and practical routing capabilities of the SINE HP 48, it's up to you whether individual sources are assigned to each user or all listen to the same signal.
The headphone amp also features an external power supply to ensure that its immediate environment is not exposed to excessive heat. The SINE HP 48 has your ears' needs covered with ideal headphone amplification for professional studio worko work
The AudioSystem EWS 88 D works straight away with all common audio applications under Windows 95/98 and NT. Drivers for these operating systems are included, as well as support for Steinbergs ASIO 2.0 technology, Microsoft's DirectSound, MME and Nemesys GigaSampler GSIF. And here, too, its uniqueness lies in the details, because the drivers are capable of transmitting 24 Bit audio data to the audio software used as a 32 Bit data stream. This feature noticeably unburdens the main processor, because unlike with the common packed-byte process, the 24 Bit data does
not have to first be stacked several times before being transmitted through the 32 Bit wide bus. The software provided leads you directly to the goal of your audio dreams: the expansive control panel permits the routing of the different signal sources and allows synchronization and driver settings. Included in the package: EMAGICs LOGIC 4 for creative music processing with the EWS. In addition, there is SEKDs popular audio editor Samplitude in a specially adapted version Mastering features like de-noiser, multibandEQ and hum compressor included!
the sample-exact synchronization of all the cards at any time. Of course, the card can also be synchronized with a WordClock signal by the TerraTec EWS ClockWork module. This makes the AudioSystem EWS 88 D an ideal complement to a digital project studio.
EWS 88 D the ADAT extension for your EWS/PHASE PCI studio
Technical Details: General PCI board 10 digital inputs and outputs in total Simultaneous recording and playback of up to 20 channels in 24 Bit/96 kHz 8 digital input and output channels in ADAT format (optical TOS-Link) 16, 20 and 24 Bit processing of the ADAT signal with up to 48 kHz sampling rate Variable sampling rate of the ADAT input signal up to 52 kHz Optical input and output can also be switched to S/PDIF format (up to 24 Bit/96 kHz) Additional digital stereo input and output (S/PDIF, coaxial, up to 24 Bit and 96 kHz) 20 channel mixer with 36 Bit internal resolution Busmaster transfer supports '24 Bit 4 Byte mode' (32 Bit) to reduce processor loads VU meter in ControlPanel (visualized via software)
EWS Connect* Non-Audio mode: AC3 streams can be transmitted through the digital outputs Non Audio mode: AC3 streams can be transmitted through the digital outputs Analog stereo output (SystemSound out) with 18 Bit converter and up to 48 kHz, (3.5 mm jack) for MME and DirectSound Two internal stereo inputs with up to 16 Bit and 48 kHz (Molex) ** 2 separate MIDI interfaces (splitter cable)
System Requirements Pentium 200 MMX or faster VGA with a resolution of 800x600 and 256 colors 32 MB RAM Windows95, 98 or Windows NT4 System Recommendations Intel Pentium II 400 or AMD KAthlon CPU ULTRA DMA or SCSI onboard controller VGA with a resolution of 1024x768 and HiColor 128 MB RAM Windows 98 (SE) /ME, Windows NT4/2000 *) Audio systems with EWS Connect can be linked and synchronized with one another. Up to 4 systems are possible in one PC by using the same driver and ControPanel. **) These inputs can only be monitored using the SystemSound outputs.
Software Driver for Windows 95/98 and Windows NT Driver for ASIO2.0 and Nemesys GigaSampler (GSIF) MME and DirectSound support ControlPanel for Windows 95/98 and Windows NT Emagics MicroLogic SEK'Ds Samplitude Project
EWS ClockWork ClockWork
MIDI-Interface & USB HUB.
The MIDI HUBBLE combines a MIDI interface (two inputs and outputs each) with a USB 1.1 hub to provide you with three additional USB ports. With an optional AC adapter, each of the ports provides a maximum current of 500 mA (self-powered). If the connected peripheral device needs less, operating power can be drawn alternatively over the connection to the PC (buspowered). Status LEDs for the MIDI as well as for the USB ports indicate whether
signals are being applied. As an added extra, the MIDI section features a small control panel which can be used to set LED status filters (active sensing) or to configure the MIDI routing of inputs to outputs when no music software is accessing the device.
Vice Versa is a compact S/PDIF converter that permits devices with optical TOSLink ports to be connected to electrical cinch connections and vice versa. Thanks to its clever circuit design, it can be used as a bidirectional converter or as a signal repeater. In addition, Vice Versa can be used to bridge large distances. A special highlight is the choice of power supplies, either via a standard USB cable or an external power adapter Vice Versa can therefore be used with a desktop or notebook PC without the need for an AC outlet! Vice Versa supports up to 24 bit/192 kHz as well as AC3 and DTS streaming for connections to DVD players and similar devices.
Whether your favorite hits are engraved in vinyl or your precious recordings are on tape: With ease and speed, the Phono PreAmp Studio can eternalize your LP single , or cassette recordings to your PC, for
example so that you can burn them to CDs. Do your records pop and crackle? Is there static noise on your tapes? No problem. The Phono PreAmp USB package includes Sound Rescue, a powerful yet very easy to use
restoration software that will get rid of those annoying noises for you in no time at all. It operates in real time, and with a simple click of the mouse.
Phono PreAmp USB
PRODUCER, PHASE, SINE, AUREON and EWS are registered trademarks of TerraTec Electronic GmbH. Windows 2000, Windows XP and DirectX are trademarks or registered trademarks of Microsoft Corporation in the United States and other countries. Pentium is a registered trademark of Intel Corporation in the United States and other countries. All other product and company names are or of their respective holders. All specifications subject to change without notice. All rights reserved. Printed in Germany. TerraTec Electronic GmbH 2004.
Contact TerraTec Electronic GmbH Herrenpfad Nettetal Germany email@example.com
AudioSystem EWS88 D
Flexible ADAT connectors. The AudioSystem EWS88 D gives you digital recording and playback with its ADAT-LightpipeInterface. This offers up to 8 audio channels with 24-bit resolution. The optical interface can also transmit S/PDIF-standard signals and Raw-Data, like Dolby AC-3. Last but not least, ADAT signals can be converted to S/PDIF signals and vice versa.
Recording and playback of audio in the digital domain. The AudioSystem EWS88 is equipped with one stereo 24-bit S/PDIF-format connector for transferring recordings from DAT or Minidisk to your PC entirely in the digital domain. In addition, you have full access to all common sampling frequencies and their settings like copyprotection and generation-bit. The optical S/PDIF-Interface on the EWS88 D gives the same features (i.e. AC3 and DTS).
Software la carte. The ControlPanel the brain of your EWS88 will become indispensable before you know it. It features a well laid-out user interface, and intuitive control of the cards settings make the day-to-day use as easy as possible. You will also find Emagics MicroLogic AV (EWS-Edition) as part of the software package to get you started. The current version 4.1 of the MIDI/AudioSoftware offers you real 24-bit hard disk recording.
The drivers quality leaves no-one second-guessing. Special ASIO 2.0- and GSIF support allows for incredibly low latency. We hope you will enjoy using the EWS 88 and suggest, to flip through the manual every now and then. Apart from the necessary technical information, we have prepared diagrams and examples in the relevant sections of this manual. We believe that even experienced users will be able to learn something. At least you should read the small summaries, which are framed and highlighted with an exclamation mark. The frames summarize the following paragraph and contain important tips concerning the setup, which will make your everyday work with the EWS so much easier.
. Your TerraTec Team!
Tips for owners of AudioSystems EWS64.
If you own an AudioSystem EWS64 with the digital-board (one of the expansion modules or DigitalXtension R), you can connect this to the EWS. Run the EWS64 S/PDIF-output to the coaxial input of the EWS88. We suggest you read the paragraph on digital synchronization via S/PDIFon page 37 The ADAT connectors on EWS88 D. One more thing, though: The Control Panel in this manual refers to the supplied software package for the AudioSystem EWS88. The good old EWS(64)-Panel will be referred to explicitly when necessary.
Multiple EWS 88 in one system.
Up to four EWS88 can be installed and run in sync in one PC. This configuration produces 40 in and outputs, which can all be accessed from your favorite sequencer. Both cards EWS88 D and MT may be combined freely. Currently (driver version 4.02.16.98) you have access to only 1 SystemSound output when running multiple EWS 88 the most recent driver will be activated automatically. To ensure faultless operation of multiple PCI cards, all PCI cards must be connected to each other using a special connector cable (supplied), or the optional EWS ClockWork. This connection will guarantee perfect sync of all cards. Please read the chapter entitled Card connectors and their applications. starting on page 33.
The EWS88s ControlPanel recognizes individual cards automatically and allows you to control the settings on every individual EWS 88. This way, you will never be shown any useless parameters.
Tip! Even as a professional you should at least read Software from page 47 onwards. The information with regards to the drivers and the ControlPanel is essential in the understanding of the system. Thank you.
A quick summary for all quick-starters:
Both EWS88 D and MT are PCI cards (as you have probably noticed). They should be installed as far away as possible from graphics cards or SCSI controllers. The 88AX module (only supplied with the MT version and only to be used with this) can also be mounted externally. Both connection cables cannot be plugged in the wrong way around. Before installing multiple EWS88 (whether MT or D, or mixed), each of the cards must be defined as MASTER or SLAVE through the cards software. Read Page 44 to find out more. You will require 1 IRQ. If you wish to install multiple EWS88, you can do this the cards operate on a IRQ-Sharing-system. You will need a few free addresses (usually not a problem). Driver installation follows the usual standard, all drivers are supplied on the CD ROM. After installing the drivers, check the Device Manager and look out for any exclamation marks. If you see them, you have a problem. Possible solutions are listed in the FAQ to be found on CD. Having installed the drivers, the software installation will start automatically. It is essential to install the ControlPanel.
Before you install the card, please be aware of any particularities of your PC. It is best to refer to your PCs manuals and the manuals of any other cards you may have installed. As long as you follow the tips, you should not run into any trouble. If you still encounter difficulties, simply read the corresponding chapter in this manual thoroughly. If you are still none the wiser, our Service-Hotline will be able to assist you. First, take some time to check the contents of the overall package.
Included with the AudioSystem EWS88 MT you find: 1 PCI-Sound card TerraTec AudioSystem EWS88 MT 1 Break-out box (88AX) 1 Cable for external connection card -> break-out box 1 Ribbon cable for internal connection card -> break-out box 1 Adapter for internal connection card -> break-out box 1 Internal Sync-cable for cascading multiple EWS88 MT 4 Rubber feet to protect surfaces 4 Screws with bolts to install the break-out box 1 Audio lead minijack -> RCA 1 Installation and driver CD 1 Manual 1 Service form 1 Registration card with serial number
Included with the AudioSystem EWS88 D you find: 1 PCI-Sound card TerraTec AudioSystem EWS88 D 1 MIDI adapter 1 Internal Sync-cable for cascading multiple EWSInstallation and driver CD 1 Manual 1 Service form 1 Registration card with serial-number
You can return your registration card to us, or you may use our website to register on http://www.terratec.net/register.htm. This is important for support and the hotline.
Warning. Unplug your PC from the socket and remove the cable from the back plate before opening it!
And now step-by-step: Switch off your computer, as well as all peripherals such as your printer and monitor. Do not unplug it, yet. This provides additional grounding. Touch your computers back plate to discharge any static you might carry. Now you can remove the power chord. Open your PC. (ONLY EWS88 MT) If you want to install the 88AX box internally, you must find a vacant 5.25-inch drive bay. Depending on your PC, you might have to remove its front cover with suitable tools. Please take extra care when doing this, as sharp edges may cause injury. Tip: choose a bay located directly under an existing CD drive. Otherwise suspended cables will literally drive you `round the bend every time you change a CD. Connect the ribbon cable to the back of the break-out box using the supplied adapter and slide the box into position. Affix the box with the screws (make sure you use the bolts to ensure that the box is installed electrically safe). Now locate an empty PCI-slot, take out the screw, which holds the cover plate in its place, and remove it. To ensure maximum system performance, choose a slot, which is not immediately next to an existing card, as some components such as graphics-cards and SCSI devices may transmit signals which interfere with the EWS88 card. Carefully remove the packaging and hold it with one hand on its edges, the other hand on the metal PC case. This will ensure that your electrostatic charge discharges into the PC case and wont damage the sound card. Under no circumstances you must touch the cards electrical components. (ONLY EWS 88 MT) After placing the break-out box inside your PC, connect it to the card. If applicable, connect CD drives, additional EWS88 or the optional EWSClockWork and card. Please note the corresponding installation directions (to CD-drives page 42; for cascading from page 44). Align the golden connector with the length of the PCI slot. Gently press the card into the slot. The pressure must be evenly applied to the whole length of the card in order to slot in. It is important that you do not press the card too hard, as you may damage the card. Secure the card to the expansion slot with a screw. Replace the cover onto your system.
Having installed the drivers, the software installation should start automatically. If this does not happen, you need to start the setup program manually from the EWS88-CD. <CD>:\Applications\Setup.exe
Follow the setup process on your screen, where basically nothing can go wrong. It is essential for using this manual, that you install the EWS ControlPanel. The other software is not essential, but useful nevertheless.
Please turn to page 30.
Installation in Windows 95B (OSR2). As soon as you have installed AudioSystem EWS88, Windows 95B recognizes the card as a new hardware component and shows you the following screen.
click next.
Click Other Locations.
If you have entered the path correctly, Windows has found the corresponding driver. Click Finish.
If this screen appears, click OK.
Enter the path <CD>:\Driver\Win9x\ again and click OK. Alternatively, you can choose the correct path using your mouse. Simply click on Browse.
Windows now installs the drivers automatically, and confirms this with different windows, which you can take note of. Nothing else should happen at this stage. If you encounter any other messages, pressing return is usually a good idea. If Windows asks you for further drivers, refer to the previous path with the EWS88-CD. It is also possible that some Windows extensions need to be installed alongside. (i.e. if this is the first installation of a sound card in your system). Keep your Windows CD handy. Having installed the drivers, the software installation should start automatically. If this does not happen, you need to start the setup program manually from the EWS88-CD. <CD>:\Applications\Setup.exe
Installation in Windows 98. As soon as you have installed AudioSystem EWS88, Windows 98 recognizes the card as a new hardware component and shows you the following screen.
Click Next.
choose Search for the best driver for your device. (Recommended). and click Next.
Enter the path <CD>:\Driver\Win9x\ and click Next.
To finish installation, click.Finish!
Uninstalling drivers in Windows 95 and 98. If you wish to remove the drivers from your system, it is best to do this using the DeviceManager before physically removing the card. Highlight the AudioSystem EWS88 entry and remove it, thats all.
Playback of multimedia players or windows system sounds through Wave-Mapper is preferable.
For recording, it is best to use EWS88 Digital Mixer. You probably wont use this too often, as you are more likely to select a driver from your recording software. However, it certainly cannot hurt and it is not possible to select no driver in any case. You can find more information on the individual drivers on page 48.
If you wish to run a card with wave-table synthesizer or software wave-table for MIDI playback (usually MIDI files) with your EWS 88, look up the MIDI settings (MIDI). If you have set MIDI playback to EWS 88 during installation of the drivers, select a preferred playback device (i.e. the sample playback in EWS64).
Playback of multimedia players or windows system sounds through MIDI-Mapper is preferable.
Should you select EWS88 MT (D) MIDI, then all MIDI data, which is using MIDI-Mapper, will be transmitted through the MIDI OUT on 88AX, or the MIDI interface on EWS88 D. This allows you to use external sound modules for playback. Important: All settings mentioned above do not compromise MIDI playback in the most common sequencers.
Card connectors and their applications.
There are numerous high-quality connecting options with the EWS88. Here we would like to explore these options and describe the corresponding setting in the EWS88-ControlPanels in detail. In addition, you will find tips for regularly used functions. Tip: In order to understand the internal routing, you should read the chapter ControlPanel. from page 53.
Analogue outputs on EWS88 MT.
The analogue outputs on 88AX accommodate musician friendly levels of 10dBV or +4dBu. You can plug in your mixer and/or your instruments.
General. The AudioSystem EWS88 MT is equipped with 8 high-quality outputs (labeled OUT on the break-out box), which can be accessed individually. The connectors are of the Cinch(RCA) type and are always displayed as pairs in the ControlPanel (1/2, 3/4, 5/6, 7/8). Naturally, you can also access the channels individually. All output levels can be set between 10dBV and +4dBu in the ControlPanels Settings.
Safety-warning: Never plug analogue instruments into the jacks if the power is on! This will protect you from electric shocks, as well as your speakers and your hearing from sudden signal peaks. When plugging in digital instruments, you should at least turn down the volume.
36 AudioSystem EWS88
www.algorithmix.com www.dartech.com www.diamondcut.com www.sonicfoundry.com www.steinberg.net
The ADAT connectors on EWS88 D.
The optical connectors on the EWS88 D accept other instruments, which respond to sending and receiving ADAT and S/PDIF signals. Included here are ADAT recorders, digital mixing desks or DAT and MiniDisk recorders. An optical connection allows for up to 8 channels to be transmitted with a sampling rate of 48kHz.
General. Connecting ADAT compatible equipment to the EWS88 D is incredibly simple. Generally you will find a single input and a single output connector (IN and OUT). You can recognize the OUT connector by the red light shining inside it. Connect the ADAT out of the EWS88 D to a ADAT IN of your peripheral, and vice versa. Using the ADAT connection for recording, you need to ensure that the sampling frequencies of both are identical. To guarantee perfect synchronization you must switch the masterclock setting in the ControlPanel to External.
Skipping this important step may result in audible dropouts in the recording. Of course the external instrument must be switched to the appropriate setting as well. If you intend to connect both instruments in both directions permanently, you must decide on a common synchronization frequency. Which format is most suitable for your studio, can only be decided by yourself. You need to consider, that for safety reasons when synchronized externally, the EWS88 only transmits audio data which are identical to the receiving machine. But here also special cases are to be taken into consideration: Digital mixing desks (i.e. Yamaha 02R), do not transmit any audio data when there is no external synchronization present (i.e. when your PC is switched off). The suitable drivers for digital ADAT recording are EWS88 WaveRec. As up to 8 audio channels can be received, the drivers are grouped in pairs (1/2, 3/4, 5/6, 7/8). You can find more information on the drivers from page 48.
Useful information. The digital interfaces on the EWS88 all transmit bit resolutions between 8 and 24 bit, as well as all sample rates between 8kHz and 96kHz. The same applies to the optical interface. However, as an ADAT Signal is transmitted via a TOS link-cable, its maximum sampling frequency is physically restricted to 48kHz, because 8 channels apear simultaneously. The EWS88 D allows you to use optical interfaces independent from the ADAT standard and, for example, to the S/PDIF-standard. This will enable the card to transmit data with a 96kHz sampling rate. The relevant settings in the ControlPanel for this are described in detail from page 53. Various manufacturers of software DVD-players ( i.e. Power DVD, Version 5.55 ) support playback of DVD audio material through the EWS88. This allows you to split the signals ( 5.1 or 7.1) and playback AC3 or DTS material. You can find more information on the Power DVD on: http://www.cyberlink.com.tw. The AudioSystem EWS88 D allows you to convert ADAT-signals to S/PDIF and vice versa. The relevant settings in the ControlPanel for this are described in detail from page 53.
Here you can adjust the levels at which the incoming signal will be recorded into the EWS88. 10 dBV is very common in home-studios (the signal-levels are comparatively low, which is compensated for with the higher input sensitivity). +4 dBu is generally a professional setting (Instruments are powerful enough, hence the input sensitivity is acceptable). If you find that one of your instruments does not deliver a high enough level, you can increase the sensitivity in 0.5dB increments in the ControlPanel. Make sure that the Clip LED does not light up when this happens, the input is subject to an overload, which can lead to distortion in the signal. The Clipping box to the right allows you to set the LED's sensitivity (-3 dB is usually a good choice. If the LED starts to blink during the recording, it should indicate a well balanced inputlevel). This is not all: The Auto Gain function lets you set the input levels automatically. You can set this auto gain to different scanning times (scan 3/5/10 sec), during which the software analyses the incoming signal and sets the appropriate gain-level (during this time, the signal ought to be constant). You can activate this function simply by pressing the Auto-button below the channel-strip (if you have two channels grouped to a single stereo channel , the auto gain will be activated on both channels automatically). Digital mixer. You may already have found the Digital Mixer. This function is especially helpful if you do Digital Mixer not own a hardware mixer, or prefer to mix internally. The digital mixer always accesses all(!) 20 channels (10 WavePlay-and 10 input signals) and routes these to output 1/2 or to the coaxial digital output.
For example: You are using a Audio-/MIDI-Sequencer (Cakewalk, Emagic, Steinberg whatever). In your arrangement are Audio- and MIDI-tracks present. All audio tracks are routed through various effects (plug-ins) and are being sent to the card's digital mixer (i.e. 1/2). The MIDI tracks control two external synthesizers, which you can connect to input 3/4 and 5/6 of the EWS88 MT. In addition, you are also running a software-synthesizer (Generator, Reality, etc). This audio-program uses WavePlay 7/8. And of course, you also own a EWS64, which also receives MIDI Data. You can connect the EWS64 to the EWS88 using its S/PDIF-output. All 10 audio signals are routed into the digital mixer. You can manually set all ten gain-levels and pan positions and the master volume can be adjusted using the Master Volume-fader. (The Digital Mixer has a 36-bit resolution and can mix up to 4096 24-bit audio-channels. Wow!). On the Routing-page (refer page 56) you can set the output of the digital mixer to either 1/2 or S/PDIF, the master-signal can be transmitted digitally or analogue. Thats all, ControlPanel understood! Summary: If you want to use the EWS88 MT purely as a I/O-card for your Audio-/MIDI-sequencer, you won't actually need the digital mixer. As mentioned earlier, your sequencer (software) controls the volume levels and pan positions. They are routed to the outputs directly.
Settings. The settings window allows you to adjust a number of hardware settings, drivers and in response to our customer demands the color scheme. Routing. Signal routing is the most interesting feature in the settings window. Here you determine which signal is routed to the output and whether it is muted, or not. (All signals are routed through the digital mixer , but need not necessarily be routed through the master output.)
Usually, you will send an audio-signal (or multiple signals) from a certain audio program. This will be done by the windows drivers described as WavePlay-1/2, 3/4, 5/6, 7/8 and S/PDIF. Here you can determine, that a signal, which is routed through 3/4 is also audible through 3/4. Alternatively, it is possible to rout an incoming signal (a signal not from a WavePlay-driver) directly to an output. This is especially useful when you record a signal from your sequencer and want to monitor it directly.In this mode, the WavePlay-becomes inaudible. To summarize this section for the musician experienced with mixing desks and recorders: The signal routings described in this section are akin to switching between tape and line input on a mixing desk. Choosing WavePlay --> Out x/y means, youll hear the signal off tape (in the case off the sequencer). Choosing In --> output x/y youll hear the incoming signal. As a sound card-user, you will certainly ask yourself: What about the volume control?!. With Windows you are used to adjusting the volume-levels within the Windows mixer. This is completely sufficient when you are mixing different signals, i.e. (Wavetable-)Synth, CD input, line and microphone input, etc. This, however, is a real recording-system, which is to process signals from different programs and route them without signal-degradation to the output section. Basically: The volume levels should be set in the respective programs themselves. Imagine your sequencer is directly connected to the outputs of your EWS88 if you have ever used an external mixing desk, you would appreciate not having to adjust the volume-levels at three different points (in the audio-software, on the sound card mixer and the external mixing desk).
Master Clock. This section is all about the sampling rate, which is being used to drive the EWS88. This is an important point, as the card can be synchronized to an external signal (i.e. a DAT-recorder) or internally (Internal) and pass the clock signal on to other devices. If there is a valid digital signal connected to the digital-in connectors (S/PDIF or ADAT) its sample rate will be displayed in the EWS ControlPanel and the EWS will be switch to external syncing. In addition, any card defined as a Slave, and connected to other EWS cards with the EWS-Connect connection will also be switched to external (see page 45). In Master/Slave mode , all Slave cards cannot be switched back to internal clocking, as the clock is provided by the Master card. The Master card can of course be clocked internally, and externally via a digital input. Example: The EWS88 D is clocked by the EWS88 MT in Master/Slave mode, which, in turn, is switched to external synchronization via its digital S/PDIF input, connected to a Minidisk player. As the Minidisk player is running at a sampling frequency of 44.1kHz, the entire EWS system is switched to 44.1kHz and everything runs in perfect sync.
ADAT Off Optical - S/PDIF
If the MasterClock was set to internal synchronization, or if the card is the Slave in a Master/Slave-mode, the ClockSource setting will have no impact at all.
DMA Buffer Transfer Latency. Here you can determine how quickly an application (i.e. software-synthesizer) can access the Widows drivers (except for the SystemSound-Out drivers). The faster, the better one would be inclined to think, if there wasnt a catch. The setting is systemdependent and can cause audible drop-outs during recording and playback, if your processor cannot cope with the load imposed by the setting. If you notice these drop-outs during playback, you will need to increase the DMA Buffer Transfer Latency. Equally important is the tuning of the offending application. Many programs offer manual setting of the audio-buffers (here: WaveLab).
Striking the balance: For higher levels of speed, try to keep the number and size of buffers as low as possible. Lower the DMA Buffer Transfer Latency in the ControlPanel step by step. The drivers themselves are very clean and fast. This means that you should achieve respectable results in respectable systems.
Note: Setting the DMA Buffer Transfer Latency will not affect the performance of the ASIO or GSIF drivers.
ASIO Buffer Size. The ASIO Buffer Size is responsible for the speed of the ASIO-drivers. The smaller the number of samples per buffer, the shorter the time it takes for your software to send signals. This setting is also like the DMA Buffer Transfer Latency system dependent. In the best case scenario, latency will be only 3ms. On common systems with a common processor load , you will work with a latency of about 7-30ms. Please note, that you will need to restart ASIO-applications once you have changed the ASIO-settings.
Wave Playback/Record Mode. The Wave Playback/Record Mode determines, if you want to work with a single software application (i.e. your sequencer) or several simultaneously. As we have already shown (The Master Clock section), running programs with different sampling-rates is not possible. Identical recording and/or playback frequencies will not present a problem (simply switch to Multi-Application mode). The Multi-Track mode reserves all WavePlay drivers (respective WaveRecord-) for only one open application. This will usually be your favorite hard disk recording application. And it is in this case that this mode finds its application: In multi-trackmode, all drivers (WavePlay 1/2, 3/4, 5/6 etc.) need to be available simultaneously, and start in perfect synchronization. An extremely important feature, which is indispensable in professional sound recording.
Color- settings. One of the most important decisions in the ControlPanel will be taken here. You just cant help noticing colors, wherever you look. Even the dullest desktop can be revitalized with a set of fresh new colors. Enjoy! ;-)
PS: No seriously, reflections off obviously switches off the reflections in the ControlPanel box. This can actually speed up slower systems. In Windows 95 you may not notice the shades at all, as the display relies on special Microsoft System files. Get System Colors exclusively uses colors from the Windows System files. Get Default Colors resets the color scheme. If you dont like all these bright colors on your screen, rest assured: Even with reflections set to off, the display will be no heavier on your processor than the usual gray of Windows.
Scene Memory-Function and choice of cards. Digital mixers call this function TotalRecall PC-users will be familiar with loading and saving. The Scene-button on the right of the ControlPanel allows you to save (Save), load (Load) or even delete older scenes (Delete). Press cancel, and you will leave the box with no changes.
Also on the right of the card is the card-selection box (Select). Here you can switch the display to a multi-card setup. By the way, the Scene Memory Function always saves settings for all cards.
To give you the right player for the right format at the right time, we have included a complete version of the popular WinJey. WinJey plays just about every audio-format, your computer can handle:
MP3 - MPEG Audio Layer 3 (requires only 16% system resources on Intel Pentium 200MMX), MP1 and MP2 Variants of the MPEG-format, WAV and VOC the most common and most important, and the most uncommon and therefore least important, but one of the oldest digital audio format, MOD, S3M, XM, IT and other Tracker-formats, MID Standard MIDI file format, CDA Analogue playback of audio CDs.
The software also offers Skin-Support allows you to change the look of your player completely. You can find skins on the internet @ www.winjey.com.
Emagic microLogic AV.
We are pleased to offer you Emagics Logic, one of the most successful Audio-/MIDIsequencers, currently in version 4.1, which is even more powerful. For the few of us, who dont yet know one of the worlds most successful sequencers: Logic Allows you to record and edit MIDI and audio data. Logic offers you notation, various MIDI and Audio editors, as well as synchronization to video signals. Especially the audio-side of MicroLogic AV is well equipped with, full 24-bit/96 kHz support, real-time effects and control. Newly added in version 4.1 is support for EWS88 ASIO drivers, as well as the possibility to use Logic Audio Device Setup Manager to chose your own driver combination (Which is especially helpful, if you are using multiple EWS88s in one system).
Further information on MicroLogic AV can be found online. You can even download the original manual. The documentation is supplies as a.PDF-file on the EWS88-CD.
Samplitude Project the audio editor.
SEKDs award-winning Audio Editing Suite Samplitude allows you to record and edit your compositions in a professional manner, on multiple tracks with up to 24-bit resolution and 96 kHz sampling-rate. Unlike MicroLogic AV, Samplitude is foremost an audio editor. Cut and paste, volume changes, fades, cross fades, dynamics, Looping, EQ, Sample conversion, everything is included.
Further information on Samplitude can be found online. You can even download the original manual. The documentation is supplies as a.PDF-file on the EWS88-CD.
There was a time, when music was still hand-made. :-)
BuzZ ThE tRaCker.
A Freeware-toy with this card?! What the.?! Well, one reason why we have chosen to include this program in our package is because it is Freeware free of charge. Furthermore, we would like to introduce you to a sound tool, which leaves all the current sound card clichs behind. Our department for fun at work have chosen BUZZ to introduce musicians to a new way of sound production, which can be a valid alternative to conventional sequencers.
BUZZ takes you back to the dawn of sequenced pop music It has, however, a thoroughly modern and optimized code for using Windows. BUZZ is a audio program akin to trackers which used to be around in the mid 80s on machines like the Commodore AMIGA and, later, on DOS-systems. In BUZZ you will be programming music, which sounds worse than it actually is: You can choose an instrument, called a generator and start programming patterns. A pattern is 1 or more bars of notes. These patterns can then be arranged to a complete song.
The great thing about BUZZ is that the patterns not only contain note information, but also information on the instruments. And these instruments dont have to be just players for WAVdata, but also physical modeling, Virtual Analogue Synthesizer, effects and much more. There are also options to import an external signal, as well as using VST plugins. Basically, this program is absolutely terrific ;-). BUZZ benefits from its open program code, which allows for third-party software to join in the fun. Obviously, the number 1 medium for information on generators, songs, etc. Is the internet. Here are only a few web-pages where you can start your research:
Hard disks and storage capacity Now you suddenly have a great recorder, which allows you record audio-signals to a previously impossible standard. Of course there is as with most things in life a catch: As the sound quality increases, so does the need for hard disk space. If you want to dip your toes into 24-bit recording, you should incorporate a large, and more importantly, fast enough harddrive. To give you an idea of the amount of data your hard disk has to deal with in these circumstances, here is a simple formula which allows you to calculate your requirements.
Number of channels x resolution in BIT x sampling frequency in Hz divided by 8 divided by 1024 and, again, divided by 1024 = MB/s For one stereo signal (two tracks) with the highest possible resolution, you will achieve the following result in MB/s: 2 x 24 x 96000 / 8 / 1024 / 1024 = ~ 0,55 Slightly more than half an MB. This translates into 33 MB per minute. Lets take a look at a typical multi-track scenario: 8 channels take up about 2.2 MB per second. An average arrangement of, lets say, 20 channels (of which we play back 16 at any one time), will require roughly 5 MB per second. And, of course, this is only for play-back. Naturally, we are not trying to put you off such high resolutions, but we encourage you to take a good look at your requirements. Not every application justifies such a high resolution. Very often, the difference between 48 kHz and 96 kHz is negligible.
FAQ frequently asked questions and their answers.
A FAQ (Frequently Asked Questions) to the first problem is included in the CD and online at www.terratec.de/support.
Technical data EWS88 MT.
*Frequency response
Total Harmonic Distortion
THD + Noise
74 AudioSystem EWS88
3D-Audio Tips and useful information 71
Equalizer 66
AES/EBU 40 Algorithmix 36 Audio editor 65, 66
Fades, Audio 66
Gimmicks 47
Backup, via the Digital Interface 40 Buzz 67
HOTSTUFF.!!!-contents, The 70
Card connectors 8, 12, 16, 33 CD Burner 42 CD drive 42 CD-Audio connectors 42 Construction of the card. 11 Crossfades, Audio 66
Installation 9, 52 Installing the card 13 IRQ 9
Daimond Cut Productions 36 Dartech 36 Diffusers 36 Digital extension, Connecting the 12 Digital output 44 Digital Output 8, 37, 39 DMX ControlPanel, The 33, 50, 51, 53 Driver, DMX MPU-Driver, Installation in Windows 95A (OSR1) 18 Driver, Installation in Windows 95B (OSR2) 20 Driver, Installation in Windows Drivers, Basics for Installation 17 Drivers, Installation in Windows NT 4.Drivers, Uninstalling in Windows 95 and Dynamics, Audio 66 Lightpipes 40 Line input 41 Line inputs 35 Line outputs 34 Loop function 66
Photo 700 PM-G860 EX-S600 RFR-5 CRE8 Brownies STR-DA5200ES Sorrow MI-sport 500 F36665 Satellite L505 Array Ixus 430 Plotters JOG-2000 IR260 LN19R81B TX-P50g20E BD-C6900 FJR1300A-2007 35C10 D3350 KX-T2886E Castle SC-PTX50 P5K SE KD-G421 Detachees Asus P4B LA22B350 Uk Sampler TW200-2005 GSM7324 125 TS DR265 Server Maker Pile WF-T1022TP Music Meter Trifinder 2 Resurrection ER2821B 843 37 20 MN Ncch-DLE INA-N333r-space-software LCT3201TD MY X-1 RX3700 SR-61NTB Kodak C913 100 MT CD-S700 Travelmate 3000 6275I Cdma FAX-LAB 101 W2361VG Pentax MV-1 XR-C5200 Video Game Razer Mako KX-TGA807E HL-1660E Headset X Watch T733V Steamer LC 650 Camera Hg DCF CDC-312 MS5027LE LL-T15g4 De Luxe Synergy 3500 AW06ECB8 FJ1200S OT-C701A ST-60 S6420 DFL-210 IC-F35 Valve X-press Mini B4542N0 ML-2240K 1098 S Factor PC ZWT3105 DCS400S40 KX-TG9342 Cable Review Dvdr5520H Rino 120 Genie II CN-DV2300N Truck
manuel d'instructions, Guide de l'utilisateur | Manual de instrucciones, Instrucciones de uso | Bedienungsanleitung, Bedienungsanleitung | Manual de Instruções, guia do usuário | инструкция | návod na použitie, Užívateľská príručka, návod k použití | bruksanvisningen | instrukcja, podręcznik użytkownika | kullanım kılavuzu, Kullanım | kézikönyv, használati útmutató | manuale di istruzioni, istruzioni d'uso | handleiding, gebruikershandleiding
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text:
Nice! Will try it out tomorrow with number of players in coop!
Play as usa vs japs in this what if scenario, what if usa didnt nuke japan and had to land on there main island kinda like d-day landings.. Skirmish type mission defend 30mins then attack..
To install just Unrar and throw it into your Program files/steam/steamapps/common/mowas/mods ...then run the game go to options ...Activate the mod away you go :D
And remember to drop a comment down below and let me know if you find any bugs!
Nice! Will try it out tomorrow with number of players in coop!
Hi , thanks mate will download and give it a go in singleplayer.
cheers OldSpot
Everything works nice job u are a great modder
YEAH FastLegs the return !!!
nice one mate, bet this is good.
bug slow doanload
Doh! forgot to add the localization.. update on the way .2 version :P
my bad fellas.. try with new localization!
can anyone help me?
what seems to be troubling you?
Dang This Was Very Hard i lost like 1200 men and Japan lost 2700 ... O_o

subset: commoncrawl


text:
The city of Renton is ready to say goodbye to Boeing. Are you? "That's 300 feet of waterfront property," says Alex Pietsch, Renton's municipal director>"/>
The city of Renton is ready to say goodbye to Boeing. Are you? "That's 300 feet of waterfront property," says Alex Pietsch, Renton's municipal director of economic development, referring to Boeing's 737 and 757 assembly plant, which has dominated the city's downtown neighborhood on Lake Washington for 60 years. "The plan we've mapped out would bring in 40,000 jobs," tens of thousands more than Boeing supplies.
Pietsch and the rest of Renton's civic leaders in no sense hope to rid themselves of the city's biggest employer. But a long-rumored plan to move the Renton production line north to Everett seems inevitable, and Boeing already has applied for an environmental-impact study, which could lead to plant closure and redevelopment of its prime 280 acres.
"So sure," says Pietsch, "we have to plan ahead for any eventuality."
Stiffening its upper lip, Renton appears to be ahead of the pack in this new reality show, Life Without Boeing: Can We Survive? As scripted by the Lazy B, local and state taxpayers are being asked to strip down to their wallets and all paddle together to keep this $50 billion-a-year business afloat with "incentives." The most recent example involved negotiating an embarrassing obstacle course of political pep rallies and late-night legislative love-ins. The goal was to see just how far we could stretch our dignity and state budget for a company ranked 42nd on the Fortune 500. It's still unclear where the trail will lead. All we're told is that, should we fail, Boeing, born here 87 years ago, could fly, fly away.
So the official line goes, anyway.
Gov. Gary Locke is among those telling it. Locke predicts an economic nuclear winter if Boeing fails to announce later this year that it will build the proposed new midsize economy jet, the 7E7, in Washington. No matter that production of other jet models will continue here for years. The governor and economic experts insist that without helping Boeing, we face job losses, darkened markets, population declines, and scorched-earth economic patterns. Politicos were almost desperate to join the Boeing chorus, donating their grave concerns and free hot air. How far they'd go was personified by an op-ed piece in the Seattle Post-Intelligencer last week. Written by County Executive Ron Sims and County Council member Larry Phillips, it was memorably headlined "Sewage Treatment Plant Brightens Our Chance to Land the 7E7."
THE RELENTLESS, ONE-SIDED political and media barrage left some taxpayers rooting for downsizing. After all, couldn't Locke's dire predictions also be seen as the answer to those quality-of-life issues that drive us nutsunstoppable growth, soaring home prices, crowded schools, and impromptu parking lots laughingly called freeways? Couldn't a thinning of our workforce, the leveling of our growth-addicted economy, and a general slowing of the regional pulse lower our blood pressures and assure a longer, mellower existence?
Is Boise all that bad?
Not that anyone supports throwing people out of work and forcing them to move so we can have our fishing hole back (although, if it works out that way . . . ). But was all that public groveling necessary for a corporation so often accused of corruption that it recently had to take out a newspaper ad in major papers like The New York Times to defend its "integrity"?
As Locke said in his letter to Boeing, "There are solid reasons why Microsoft, Amazon, Nordstrom, Starbucks, Washington Mutual, Costco, and others that are No. 1 in their industry are located here. Washington is a great state, and we're making our business climate even better."
He was effectively begging Boeing to stay. But he could just as well have said, "Hey, these other guys are doing OK. What's your problem?" Locke might have brought up the fact that Washington's tax system over the years was already structured around Boeing, that countless laws and regulatory practices have been changed on the company's behalf, and that no one else has demanded more state corporate welfare than you big babies! Don't take it out on our long-supportive communities and your loyal blue-collar workforce, he might have added. They weren't the ones who handed the jetliner lead over to Airbus.
But Locke, quaking at the thought he'd be remembered as the Governor Who Lost Boeing, vowed to "do whatever it takes" to appease company execs. He issued fearful warnings of a new Boeing bust if Washington loses the 7E7 final-assembly plant. In particular, Locke claimed, using what eggheads call the job-multiplier effect, the new factory would create or preserve tens of thousands of regional jobs.
If the plant isn't built, "we're talking about a potential loss of 135,000 jobs," he said last week. Locke's Boeing domino theory assumes that, should the 7E7 go elsewhere, much of the rest of Boeing's Puget Sound work would either follow or be phased out.
THE ASSEMBLY PLANT would obviously be a prized asset. The fuel-efficient 7E7 is seen as a transitional replacement for the midsized 757 and 767 passenger jets, neither of which is selling well. (No one has ordered a 757 since 2001, and the 767 fetched just eight orders in 2002 and none this year.) But an Everett-built, Wichita-modified 767 tanker line might well continue into the next decade and more, thanks to a porky leasing deal with the Air Force worth $16 billion to $100 billion. And the sales future of the 737 linewhether built in Renton or moved to Everettis at least 20 years, says Boeing, with the new-generation 737-900 stepping into the 757's niche.
The fact of the relative stability of that work got run over by Locke's bandwagon. Grinning like he'd just intentionally belly-landed an Airbus A380, Locke last week signed off on a $3.2 billion tax break for the world's No. 1 aerospace company, contingent on an agreement to build the 7E7 plant here. As the governor bragged in a letter to Boeing, the package goes to "extraordinary measures" to reduce Boeing's cost structure.
Indeed. Besides the tax break, Locke and his new Republican friends in the Legislature made extraordinary cuts to worker-compensation and unemployment benefits, saving Boeing millions in state insurance payments. There was also a transportation-improvement package that includes a 5-cent-a-gallon gas-tax hike. The state then wrapped it all up in a new $15 million shipping pier for Boeing's Everett plant. This was a gift that, due to the state's constitutional ban against giving money to private business, Locke had to, in his words, "work around." After all, needy Boeing made only $2.3 billion in profit last year.
In D.C., meanwhile, the state's congressional delegation worked to finalize the tanker-lease deal and drum up support for a costly new University of Washington research center to benefit Boeing. For the company, it was Christmas in June.
On Friday, June 20, in a fist-pumping, "We can do it!" rally at Boeing Field, Locke handed out the booty while dozens of other competing states and cities held their own events to ante up bids for the new factory, offering cash, loans, tax breaks, free property, new highways, and other trappings of political briberynone, though, matching Washington's $3 billion kickback.
IT WAS THE CULMINATION of a months-long competition of ring-kissing ordained by Boeing. The company commanded any interested government entity to explain, in 25 gifts or less, why the company should deign to build its new plant in their part of the woods. From Left Coast to Right, the promises of taxpayer funds rolled in, all based on a request for proposals that Boeing demanded be kept secret. (Boeing 7E7 Senior Vice President Mike Bair explained this was done "out of respect for the process.")
The company also insisted that bidders meet certain threshold criteria to compete. Among the standards: that local workers come from "quality schools" and there be good flying weather thereabouts. They also asked that the chosen community support Boeing, and that governments become their partner in business.
We can argue about schools and weather. But Washington clearly met those last two qualifications. Locke and other politicos were so gung ho about nabbing the new plant that they dragged out a 33-year-old symbol of failure, warning that we might once again see billboards asking, "Will the last person leaving Seattle turn out the lights."
Some of us remember the 1970s wellno crowds, no traffic, rock-bottom real estate.
Yes, quite bad. It was the last time we could afford to buy a house.
It was also a time that could teach us about surviving the loss of Boeing. We already have.
In 1968, Boeing employed 142,000 workers. By 1971, after the bottom dropped out of the economy, employment was 62,000. That's a loss of 80,000 workers in three years. Or about 20,000 more than the company employs now.
In other words, we lost the equivalent of today's Boeing.
For that matter, Boeing's Washington employment had zoomed back up to 127,000 in 1998, and has now dropped again to the neighborhood of 62,000. That's a loss of 65,000 workers. The loss of another Boeing.
BUT WE'RE STILL HERE, bouncing along not too badly. Fortunately, the economy, unlike in those olden days, no longer is so dramatically affected by Boeing, which has laid off 33,000 more workers in the past two years. In contrast, the 800 or so workers who would be employed at the supposed new 7E7 plant seem slim pickin's. Locke crowed about how the $3 billion would create or save those jobs and more. But while he was thumping the tub last Friday, he went instantly 800 jobs into the hole. Boeing laid off 800 workers that very daymore than 600 around Puget Sound (affecting, presumably, thousands of those spin-off jobs). There were no tax breaks to save them. For that matter, aerospace workers, unlike aerospace execs, can expect less help from the state. The package Locke handed over to Boeing cuts worker unemployment benefits $30 a week starting Jan. 1.
What, then, does the state get for its money? And would it have been better off investing in a couple of new Wal-Marts?
Should the planets align for Washington, the jet would not be built herejust assembled, in Everett or Moses Lake. Unlike Boeing jets of yore, the 7E7 will overwhelmingly be manufactured elsewhere, including overseas, its complex components imported. Assembly could take just three days, compared to up to seven times that for jetliners today. Theoretically, Boeing would have to sell up to 100 copies to keep its workforce at full time for a year.
So far, the airlinesthose still in business after 9/11are just browsing. Some are only one more SARS outbreak from bankruptcy. Boeing hints it will make a 7E7 decision by late this year, perhaps picking finalists and coming back for more taxpayer goodies. But even this week, according to The Seattle Times, the company said it was weighing other options, including an economy 747 that would be cheaper and faster to build.
Despite the state's investment, the 7E7 is just another concept, aptly named the Dreamliner. Boeing Commercial Airplanes President Alan Mulally is fired up at the prospect, but he has to prove the plane's economics to the board of directors and convince them it is viable on balance with the planes of Boeing's creative challenger, Airbus. The board then must assure itself that airlines, investors, and the public will ride along.
Boeing is hardly reluctant to leave new jets parked on the drawing board, even when well into development. It most recently scrapped the high-speed Sonic Cruiser, despite the buzz that it was destined for production. The 7E7 seems a plane of destiny, but there are always blueprints vying for life at Boeing. A leaner, meaner corporation has learned not to overindulge, or suffer the heartbreak of another supersonic transport.
Coming up with the right new model is more critical than ever to feeding Boeing's ravenous and greatly diversified corporate appetite. To sustain its business, Boeing needs $1 billion worth of work every week to keep going, according to The Washington Post. As the current 7E7 campaign illustrates, the company is going to be asking for more U.S. taxpayer incentives while sending more work to cheaper foreign labor markets.
Whether or not the 7E7 gets assembled in Everett is now up to Chicago, today's headquarters of Bill Boeing's little plane business. Bill Boeing once threatened to moveto Californiaif local politicians didn't build a new airport. It is today known as Boeing Field, where Locke was making the latest payoff last week. At the time, most Boeing execs were off noodling in Paris, at the annual air show, sampling the wine and getting beat up by Airbus.
THAT PROMPTS US to ask Renton's economic developer, Pietsch, a dumb question. What if Boeing left and Airbus landed on their lakeshore? That aerospace consortium relies on government largesse, too. But it's European government largesse, which it could use to reinvent the 7.7 million square feet of factory space and the adjoining Renton Airport. And just this week The Wall Street Journal reported that Airbus would like to build planes in the U.S. so it can sell to the Pentagon.
Pietsch laughs. "Well," he says, "the property belongs to Boeing, and they'd have to decide whom they'll sell or lease to." He doesn't think Airbus would be the most likely customer.
OK. City officials have their post-Boeing plan rolling down the runway, anyway. A 17.5-acre mixed-use project, Southport, is already under development by Wright, Runstad & Co., next to the Boeing plant. It will include offices, residential buildings, and a luxury hotel. The city considers the project a microcosmic example of how the Boeing site could be redeveloped.
"Replacing all those lost aerospace jobs would be a great hurdle for us," Pietsch says. "But with thoughtful planning and a concerted effort, we can create a whole new economic engine." No doubt about it, he says. There's life after Boeing.


text:
A man accused of driving under the influence of drugs allegedly hit a trooper's cruiser, according to Colorado State Patrol.
A spokeswoman for CSP said Keith Kilbey, 23 or Arvada is suspected of being under the influence of marijuana at the time of the accident. He was cited and taken to a detox center.
State patrol would did not say if pot was found in Kilbey's vehicle because the investigation is ongoing.
Two Colorado State Patrol vehicles had their lights on and were blocking the left lane of the I-76 on-ramp from northbound I-25 just north of Denver. They were responding to a crash.
State Patrol said Kilbey, who was driving a Chevy truck, hit the trooper's cruiser so hard that it was pushed into a second state patrol vehicle.
The troopers were not inside the vehicles when the accident happened.
Neither trooper was hurt and Kilbey is being charged with driving under the influence of drugs.
The incident happened around 9:00 p.m. Saturday, just weeks after a trooper was injured when a van drifted onto the shoulder of I-70 and hit a patrol vehicle.
It is unacceptable that troopers and their vehicles continue to be hit on our roadways," Corporal H. Cobler said in a news release.
State Patrol said it is asking people to be "responsible, sober and focused driver" and to slow down when approaching emergency vehicles.
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text:
Firmware release procedures
From OLPC
Release procedure
Here is a draft of a BIOS release procedure.
Stage one: EC:
- Quanta e-mails EC release and changelog to the OLPC BIOS contact, signed and encrypted with PGP
- see notes below
- Quanta and OLPC test this version of EC
Stage two: Buildrom:
- Pull EC release from http://dev.laptop.org/pub/ec/, check hashes
- Update buildrom changelog and tag for release
- Update SPI flash version string in buildrom binary
- Create buildrom SRPM
- Build two flavors of binary RPM for the two RAM variants
Stage three: Testing:
- announce build to BIOS team and Ray, release candidate testing begins
- test on a 256M board
- install the binary RPMs on Tinderbox machines
- >12 hours of burn-in warm reboot testing on Tinderbox
- cold boot tests
- we need a cold boot solution; X10 doesn't seem to like the power at OLPC
- After automated tests, send "Who has tested?" mail asking for problem reports
- Release after twelve hours if no problem reports
Stage four: Release:
- Release builds kept in a separate directory
- Update the version number in LB from release candidate to final
- Announce new build and hashes to devel-boards@ (requires moderation).
Using PGP for EC code
For first release only: This is already done
Download and install GPG4Win from http://www.gpg4win.org/download.html
Create a PGP key and get dwmw2 to sign it to verify that it is Quanta's.
For subsequent releases
Right-click on the EC binary and select the option to create a "detached signature", in plain text. It should create a separate file like 'ECv21.bin.asc', which looks something like this:
-----BEGIN PGP SIGNATURE----- Version: GnuPG v1.4.5 (MingW32) iD8DBQBFTxvGmfQ2bFM/BesRAoKzAJ0RNczipB+pul5sEUR+wCYIQvt+/wCguqrV 5GRPVDpdH155fwsDwnu7B4M= =URby -----END PGP SIGNATURE-----
Send the EC binary as you normally would, and _also_ attach the separate signature file which is used to verify the binary. There is no need to send another copy of the key itself (0x533F05EB.asc), because we already have that.
Send the EC binary and signature (2 attachments) to email@example.com
Language support > Translated Pages
Pages monitored by OLPC
Participate > Tasks > Cleanup
Projects > Hardware
Projects > Hardware
Projects > Software > Build system
Projects > Software > Firmware


text:
Medical drug drop at fire department on Saturday
For the third year in a row, a medical drug drop will be at the Newton Fire Department from 10 a.m. to 1 p.m. Saturday. The drop will allow individuals to bring unused or expired prescription and over-the-counter medications along with pet medications, vitamins, supplements, lotions, creams and controlled substances for disposal. There will be a large secure container and the items can be dropped off with no questions asked. Law enforcement will provide security at the drop.
[x] Close Window


text:
Ah, the wonders of fermentation. What doesn't taste better after sitting in an anaerobic brine for several days, or weeks, or months? Not to mention the health benefits – an abundance of friendly bacteria and enzymes to keep all systems fine tuned. This is truly the heart of food preservation – taking wonderful, fresh, healthy foods and not only preserving them, but making them even healthier! And all it takes is a mix of fresh veggies, salt, a beautifully make crock from Ohio Stoneware, and time. Well, okay, you don't really need the stoneware crock, but they are lovely – and functional.
We carry a full range of straight-sided crocks from Ohio Stoneware (1, 2, 3, 4, 5, and 10 gallon sizes). We also have their ceramic lids and weights to fit every size crock except the 10 gallon size. For those of you looking for a German-style crock with water seal, we now carry Ohio Stoneware's 3 gallon version.
We also have some lovely porcelain crocks hand-thrown by Careen Stoll. These crocks are made in the traditional German design with a moat around the top to create a water seal. Each of her crocks is unique, so stop by the shop if you'd like to see which ones we currently have in stock.


text:
Mark Webster - Coffee Cup Black and White Oil Painting
painting by artist Mark Adam Webster
5 in X 7 in (12.7 cm X 17.8 cm)
This painting is available directly from the artist.
More Paintings by Mark Adam Webster
More in Food And Drink Paintings
More in Still Life Paintings
More art in Today's New Paintings
Keyword Tags
adam black coffee cupped daily day drink food food and drink life mark mark adam webster oil painter painting small still still life webster white
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The Daily Painters Art Gallery - www.dailypainters.com
© 2016 Daily Painters Gallery. All artwork is copyrighted by the individual artists.
Images may not be reproduced without the permission of the artist.


text:
May 6, 2016
Jones County voters decided against a referendum Tuesday that would have given 1/4 of a cent sales tax to their sheriff's office to supplement the county budget.
It could have meant up to $75,000 of money that would go to Jones County. Commissioners had already voted for all that money to go to the sheriff's office. Legally, the ballot can not say where the money goes because it could always be redirected. Some Jones County residents we talked with said they were unclear about the tax, and just thought it was less money in their pocket.
"These people in Jones County don't have a lot of money because most of them are farmers, and I don't think they should have raised their taxes," said Gloria Collins who voted against the tax.
"Tell them to come down to Maysville and walk around. See how many drug dealers they can't catch because they don't have the manpower to do it," said Harry Fulton who voted for the tax.
It will be at least 90 days until commissioners can ask to get the tax on the next ballot.
Click Here to access the online Public Inspection File
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text:
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