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John La Grou, President, Millennia Music & Media Systems, Chairman, POW-r Consortium
We have been using MTU editing systems since their DOS days in the 1980s. Dave [Cox, President, MTU] has been designing digital audio editing systems longer than anyone I know, and is one of the real gentlemen in pro audio. MTU may not have the wide-ranging functionality of a Sonic Solutions or SADiE system, but sonically MTU is simply unsurpassed. We use them for classical music editing and mastering, and have for over a decade. MTU is a world class digital audio editing system.
Armin Steiner, Music Master, Inc., LaQuinta, CA
I was floored the first time I heard music being recorded and played through Microsound.
Jim Sandefur, Windwalker Recording, Goodlettsville TN
A few weeks ago, while mastering a CD project for an independent record label in Nashville, I had the opportunity to use the Apogee AD-500 18-bit converter system. After countless hours of critical listening comparing the final results to another musically similar project mastered with the Microsound converters we bought in June 1994, the verdict was in! The overall audio quality of the MTU converters had won hands down! Apogee sounded great, but it did not deliver the warmth and overall sonic musicality that the MTU converters delivered! Keep up the good work MTU!
Eddie Ciletti, "In Review", EQ Magazine
The sound quality is excellent, which is to say that it is completely transparent. The top was as clean and uncolored as it went in... noise was never a concern here. Microsound out performs most consoles in this area. The average analog console, all faders down and muted, is not this quiet.
Fred Story, Fred Story Productions, Charlotte, NC
Whenever I mix a music track, I patch from my processing chain directly into Microsound. The converters audio quality is better than anything else in my room. Even mixing to DAT, I'll patch into Microsound, and select digital output to my DAT using the Monitor, Record, and Pause icons. A client just landed a deal to sell interactive displays in 1200 Wal-Marts coast-to-coast. I'm told by the executive producer that the technical audio quality of the product was one of the factors in landing the deal. Thanks!
Tom Backus, Second Story Pictures, Knoxville, TN
I just finished a major Kodak film job, and some new motion picture film stock demo ... had to edit dialog, SFX and music on Microsound with SMPTE synchronization. Stuff sounds great! Recorded a 50 piece orchestra for the score and had to do some mixes and fixes out in LA on a Fairlight and Euphonics setup. Just didn't sound as good. I'm also working on two new series for A&E ... all post audio will be in Microsound.
Mark Karaman, In Motion Magazine
Microsound distinguishes itself from other DAWs - performing fades as a smooth continuous function. Every digital sample is evaluated and participates in the fade with 56-bit precision. Though difficult to implement, sample based smooth fades sound far superior to other DAWs that approximate fades by changing gain 30 to several hundred times a second, ... that makes for grainy harsh audio. Microsound fades are DSP-based, not RAM-based like those used in many DAWs that chew through 11MB of memory for each minute of fade, severely restricting the length of your fades. Multi-minute fades with scores of overlapped segments are not only possible with Microsound, but their audio quality sounds flawless.
Jeff Apthorp, Radio World
I have heard people say, "All the systems use digital audio, and digital is digital, right?" Wrong! I have tried other editors - even MAC ones with "professional" claims - that make fades and gain changes in steps. That method causes clicks and distortion in the audio quality. Microsound distinguishes itself from the others by processing every sample. Who ever thinks about the math processing? Yet it is important in retaining the captured quality throughout the processing.
It was immediately obvious that the audio quality of Microsound was even better than our DAT machines. The difference was even obvious to the ears of a 60 year old producer. Microsound exceeds my expectations in every way and no other recording device I've heard in the last fifteen years can beat it for audio quality. If you're looking for the BEST editor, just call MTU.
David Shearer, Inner Peace Recording, Brush Prairie, WA
I believe Microsound is an audio dream machine and light-years ahead of its time. I own GML mic pres, Rupert Neve 9098 EQ, Lexicon reverbs, and top of the line mics. Microsound gives me the crystal clear audio quality and creative edge that I
need. Thanks again for such a wonderful product!
Bob Vermeulen, Producer for Words of Hope, Grand Rapids, MI
Last month, Words of Hope received a testimonial letter from FEBC (Far East Broadcast Corp., Seoul, Korea). Of all the Christian audio material they receive to broadcast into China, our audio quality was so superior compared to everything they receive worldwide, they wanted to congratulate us. Just thought you'd like to know!
Dr. Robert Thompson,Aucourant Records, Roswell, GA
Whether the audio is recorded by analog or direct from digital, when played back, the Microsound D/A converters are the very best I have ever heard for audio
Skip Maynard, MCI International, San Francisco, CA
The sound files you sent us last week are the highest quality we have ever heard coming out of our equipment. We can't wait to get our own Microsound workstations up and running. Note: MCI bought 3 Microsound workstations to record the "Press 1 now" type messages we hear on the phones daily.
Paul Freeman,Audio by the Bay, Orange, CA
The flexibility, audio quality, reliability and well thought out software design of our Microsound has made it one of our most prized and valued tools. I want to personally say thanks again for the wonderful efforts you have made in defeating "cheap" digital, and bringing quality, high-end sonics to the marketplace.
Dave Tosti-Lane, "Microsound Review", Mix Magazine
One of Microsound's strongest points is the excellent audio quality of its A/D-D/A conversion. Located in a separate shielded enclosure... They are among the cleanest, most natural-sounding digital converters I've used, with very little coloration.
Tom Burrows, Audio Manager, Sony Transcom Inc., Irvine, CA
We thought the hiss background that is always present in our best productions for airline in-flight audio was inherent in the CD-I technology, but your CD-I
produced media has no hiss!Note:Tom called while comparing their first Microsound CD-I to the best archives they had produced on a $37,000 Sonic Solutions workstation. They used the same 4x compression software on both. Microsound's noise floor audio quality was so low, that when amplified by the ADPCM software it was still undetectable!
Dick Gaydos, Classic Worldwide Productions, Cleveland, OH
Last year we won the International CD-I Association Silver award in The
Netherlands with one of our productions done on Microsound. Some fellow submitters filed a formal complaint that our media was a CD-DA, not a 4x ADPCM compressed CD-I. When we proved it was CD-I 4x compressed, they were really upset!
Richard LePage, LePage and Associates, Suffern, NY
The Microsound A/D converters are among the very best I've heard in nearly 20 years in pro audio. They are amazingly close to the elusive "straight wire with gain."
Fred Story, Fred Story Productions, Charlotte, NC
Concerning those cheapo computer sound cards... Our multimedia clients who normally sample their own audio on these kinds of cards are flabbergasted when I urge them to compare sound files we've created with Microsound to ones they sample themselves. They just can't believe they hear THAT MUCH of a difference - even playing back on their inexpensive multimedia speakers.
Dave Bregman, Producer, The Radio Play on NPR
I just digitally transferred samples from DAT that I recorded on location. While recording, it did not even register on the peak meters [start at -60dB]. When I created the segment, I amplified it +48dB and am listening to it while I'm calling you. I don't understand! What magic are you using? I thought the noise floor would come up with the signal, but this is totally clean audio quality. I thought I would not be able to use it at all! Note:This is clear proof that our digital math does not distort. Dave's signal was so low in amplitude, it only used the bottom 6 bits out of 16 in each sample. This played on National Public Radio without further processing.