Those looking to use their computer as a recording studio for their music efforts no longer need to reach for the screwdriver.
A variety of sound modules are now on the market that can be plugged in through the USB port.
The advantages of such devices are obvious: They are portable, can be used with different computers, and -- in theory at least -- can be used without a long installation.
When hooked up to a laptop, even an amateur musician can be up and running with a complete mobile sound studio.
In practice, however, the devices don't always deliver the plug and play functionality that is promised: Problems with driver installation, for example, can cost time and energy.
External USB cards also tend to be more expensive than their internal counterparts. And when working with a PC, external sound systems tend to pack only enough punch for beginners.
"For someone just getting into the area, mobile sound systems represent a real alternative to traditional sound cards," says Ulrich Hepp, spokesman for Magix, a Berlin firm that produces software for musicians.
An external USB soundcard on a laptop allows users to record their own music in a practice room or make a recording of a concert, he claims. It also spares time rummaging around inside of a PC, and means that one card can be used with a variety of computers, he continues.
Customers will need to shell out a few more dollars compared with traditional internal soundcards, though, says Thorsten Saxer, a salesman for the music store Amptown in Hamburg, Germany.
A Phase 26 USB from Terratex costs about US$299, while a Emagics emi 2/6 runs US$329, and a M-Audios USB Quattro around US$266. Comparable internal cards can be found in stores starting at US$180.
Saxer also feels that users compromise quality and power when working with external cards. USB cards have a longer reaction time than standard sound cards, which means that real time rending suffers during recording.
If this so-called latency is too large, then there can be a hesitation between the music being played into the system and the rendering of sound on the speakers. This can destroy synchronization during recording.
Customers should therefore ensure that their sound cards use the current ASIO 2.0 standard, recommends Karsten Dubsch, who runs a Web site on the topic. These drivers will cost customers around US$40 extra at the time of purchase, though.
Another problem is the limited bandwidth of the USB port, says Saxer. USB cards for home recording have almost exclusively supported the USB 1.1 standard. High-end models like the UA-1000 from Edirol now support USB 2.0, but at around US$900 are likely too expensive for most users.
USB 1.1 means boundaries on the recording possibilities for most models, with four tracks being the limit, explains home recording expert Dubsch.
This is why these systems are largely aimed at beginners and small groups of musicians as an alternative to internal cards. When looking for external solutions, professionals tend reach for PCMCIA cards or Firewire models, both of which cost significantly more.
The installation of USB cards is also not always without friction, Dubsch claims. Finding the right driver can be a nerve-wrenching experience.
Depending on the computer's hardware, the USB port can also create background noise like hissing and humming. Cards that draw power through the USB port are particularly susceptible.
Users should absolutely get a card with at least two tracks, advises Magix spokesman Hepp. The card should offer at least analog input and output, as well as a separate microphone input, a midi input for a keyboard, and perhaps a digital port as well.
Signal converters offer up to 24 bit resolution and a sampling frequency of 96 kilohertz nowadays, but for normal users a conversion of 16 bits and 48 kilohertz is enough, Dubsch says.
Magix spokesman Hepp reminds finally that the switches and plugs should be robustly build so that the pieces won't get hurt while being moved around.
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