Is ANYBODY still using an AMS Audiofile
Just wondering If anybody is still using the AMS Audiofile.
If you dont know what it is, it was the original (and only) real pro end studio hard disc recording system, up until a few years ago when Pro Tools et al came along.
I still have on in the studio (largely as it cost a fortune and i cant bear to skip it, and iits a real engineers tool) but hasnt been turned on in a good while.
There are three that I know of in Baltimore. Frank Ayd has one, Louis Mills has one and Betsy Harmatz has one.
As to it being the only original professional DAW, I don't think so. There was Waveframe, Korg Sound Link, Dyaxis, Pacific Recorders, AKG DSE 7000, Fairlight, Sadie, Sonic Solutions, Soundscape, Otari Radar, and one from Australia that's still around. There was also the Paris, Stephen St. Croix designed for Symetrix. I know I'm missing at least one or two others.
aha! still missing one, but here more from an article I wrote some years back:
DAW's On Parade
By Ty Ford
Las Vegas, NV
Workstation technology and applications have expanded to the degree that the
terms "Workstation" and "Digital Audio Workstation" are, by themselves, no
longer sufficient to describe the genre. While some systems are designed for
production and editing, others are designed to replace cart machines while still
others purport to replace a facility's entire audio system--commercials, promos
and music. Some of these larger networked systems support the interface of
satellite-fed programming and live-assist as well as handling playlist/program
To make definition more difficult, some systems do all of the above, some do less,
but do it better, and still others are barely capable of handling even simple chores.
Unfortunately, knowing exactly what's needed isn't always easy. A fully
integrated system without the proper amount of processing power may force the
production director to load up commercials and promos onto the system only
when the air studio is not in a stop set because the system's power may not be
capable of handling the high degree of disk activity that multiple access
Seeking to conserve hard disk space and increase file transfer speed, many of the
systems offer data compression. One such system being debuted on the convention
exhibit floor created obvious whistling "birdie" artifacts. When questioned as to
the presence of the noise, the person doing the demo responded, "Gee, your ears
are better than mine. I don't hear anything." At no time has a Caveat Emptor
approach been more appropriate.
Having sounded the warning, read on to find out what DAW software and
hardware upgrades since last year's NAB are now shipping, and what may be
shipping in the near future.
360 Systems is now shipping DigiCart/II with version 2.0 software including new
file sorting options, record overwrite, pause during record, secondary and tertiary
cues, easier stack manipulation, pre-set "hot keys", an updated ES-buss serial
interface and operating system, three different remote control options and larger
70 minute capacity Bernoulli carts.
They also showed a soon-to-be-ready I/O board that allows AES/EBU, SPDIF and
analog operation for DigiCart/II and DigiCart/TC; a SMPTE chase/lock version of
the DigiCart that features transport control, playlist generation, insert edits and
VTR emulation. ONSCREEN/II Windows PC software for DigiCart/II also
received its first showing. The program provides visual information about
directories and cuts as well as file utilities capabilities for up to three machines.
For their DR4d, AKAI was showing new MIDI, SMPTE, SCSI interfaces and DL4
remote panel and version 2.0 software to implement the peripherals and SCSI
backup. Version 3.0, due in May '94 will support internal digital mixing, MMC
(MIDI Machine Control), MTC (MIDI Time Code) and SMPTE. AKAI also
showed third-party software from Mark Of The Unicorn for waveform editing on a
Arrakis brought upgrades to its Digilink system to the show. Version 2.2 is now
shipping, and will be a free upgrade for 2.0 users. 2.2 includes crossfades and
overlaps for playback of files and CDs, implementation of in and out flags for
audio transitions and AutoFill and Smart Squeeze for time adjustment of stop sets
to fit satellite windows. Users can make 0 to two seconds adjustments for each
transition in 1/10 second increments. Fills can be PSAs, time calls or any other
element in the fill file. New automatic music rotation allows an hour-by-hour 10-
rule music clock for music scheduling. Up to 40 different user-definable program
clocks and up to 40 satellite and live jocks and increased use of computer utilities
for backup, playlist purge, help and macros
Other additions include, user-definable title categories for customized operations,
simplified cart-finding procedures and one-touch cart rotation software for
automation and live-assist promos and spots. Support for Pioneer 18 bay CD
player, CD pre-cue for random access machines, sequence batch file transfer of
multiple productions to different systems and direct insert of audio events within
a stack fill out the lengthy list of additions.
ProVox, a brand new Mac-interfaced 1-track digital hard disk recorder from
Audion Laboratories, is designed to replace tape recorders in radio station control
rooms and news rooms. The system includes a Mac, a Sound Tools card and
Audion's VoxPro software to record, record insert, cut, copy, paste,"bleep"
undesirable sections and store audio on a Mac hard drive. Ten "cart keys" on the
remote keyboard can fire individual sounds or spots. Waveforms are displayed on
the Mac screen for editing.
BASYS was showing the new Australian D-CART PC graphical user interface as
an option to the original terminal emulation. D-CART is a multi-user digital
audio record/edit/playback system, adopted by the ABC Radio Networks in 1992,
designed for news rooms. Up to 24 people can work on the same audio piece at the
Broadcast Electronics showed several approaches to digital audio, including
daBOX, an all-in-one HD radio station automation system with the ability to
automate seven CD sources. Using Dolby AC-2 compression the entry level system
provides 5.5 hours of stereo storage. The system allows up to 126 CDs (seven 18
packs) with record/play capability. Two record or play boards are in the base
package. Source and control options are available including network delay, spot
overlap, an additional 88 players and up to 23 in-coming feeds.
AV-100 is BE's modular windows-based, multi-tasking system; AudioVAULT 100
for single workstation use or AudioVAULT 100 OnLINE for unlimited
workstations and networked digital audio storage system. Both are now shipping
and feature selectable sampling and compression ratios. The system is based on a
digital audio board that includes SCSI control to allow multiple simultaneous
uncompressed audio even from a single server unit. It supports single and
multiple servers for instant access from any workstation, uses EtherNet and can
work over any net package that is Net Bios-compatible. Safety features include
archive sites, mirrored hard drives or Raid 5 (Redundant Array of Inexpensive
Disks) as protection against hard drive failure.
AudioVAULT MTE is a windows-based package designed to work with
AudioVAULT. It provides up to four analog or AES/EBU and SPDIF digital
inputs. Selectable 16, 20 and 24 bit recording, multiple sample rates, real-time
digital re-sampling, jog and shuttle, bounce and overdub, EQ, vari-speed, time
squeeze, noise reduction. Up to eight-track playback with real-time mixing.
24 hour support 365 days a year.
PACE, the new computerized editing system from CCS, is designed specifically
for newsrooms and radio stations. The extra engineering to create a familiar user
interface results means a quick learning curve. PACE is based on Musicam layer
Reporting their Pro Tools 2.03 release, Digidesign also had a Mac-based Session
Eight to complement the earlier DOS version. In addition, they were showing
PostView, a system using a version of QuickTime which, via third-party
hardware boards (Radius VideoVision Studio, SuperMac Digital Film and Raster
Ops MoviePak cards), allows the capture of 30 frame/second, 60 field/second video.
Imported video "movies" can then be brought into a Pro Tools session for frame-
accurate sync of audio to the picture. You can auto-spot or nudge audio to picture
without VITC. The system also supports VTR control via Sony 9-pin or V-LAN
protocols and requires at least a Quadra series running at 25MHz with 16MB of
RAM, plus a system for full frame video playback. A SCSI accelerator for more
than four tracks of audio is also required.
Digidesign was also showing a pre-release version of PostConform, a software
package the integrates EDL and auto-conform. Shipping sometime after the show
will be the Pro Tools 2.5 upgrade, and TDM (time domain multiplexing), a 256
channels 24 bit data buss, allowing virtual digital mixing environment and DSP
plug ins from Digidesign and other third-party companies.
DAWN IIxe, the latest from Doremi Labs, with version 4.0 software is a multi-
track digital audio editor/recorder with on-board mixing to either hard disk or
magneto-optical drive. The basic 2x8x2 system can be expanded eight tracks at a
time to up to 48 tracks. The system supports volume changes, pan, mute, solo,
parametric EQ and mixing via on board DSP. File formats are compatible with
DAWN II, AIFF and OMF formats.
The system offers 20-bit resolution A/D conversion, 120dB dynamic range, 32, 44.1
and 48KHz sampling rates, variable playback speed, SMPTE lock and video sync.
AES/EBU digital I/Os are 24-bit. The system requires a Mac Quadra 650 or better,
with 12MB RAM for multi-track work.
Running on a standard PC platform, the latest software for ENCO's DAD486x
features; Musicam Layer I, Layer II and Dolby AC-2 compression. It also
supports automated, live-assist and satellite fed formats. Their largest system
consists of 21 workstations and three file servers, each server is mirrored.
ITC is now shipping, DigiCenter a digital audio delivery system with an option of
three waveform editors. The system supports on-air operation of three stereo files
and production simultaneously because it communicates directly with hard drive.
Server system allows the output of six stereo channels without compression.
Also shown was DigiCenter News, a system the collects news wire text and
records audio news feeds for newscast editing, production and playback as well as
DigiCenter-LITE, a low-cost, but full-featured entry-level system in a computer-
tower platform. ITC's new software program, TM-220, is an integrated traffic-
music merge and edit software package for DigiCenter. Another software
package developed by EZ Communications, and designed to run on DigiCenter,
provides a multi-tasking environment for on-air, production and executive tasks.
Version 4.0 for the Lexicon Opus doubled the former 8-track system to 16
simultaneous tracks and increased to 200 the number of virtual tracks. The
upgrade supports 24 channels of digital mixing, improved screen display
markers and a new 486 computer to speed up the display.
From its debut at NAB Radio '93, the AXS system was revealed as a cart
replacement system. The AXS is a modular fully-configurable automation system
covering cart machine replacement to CD satellite and music stored on hard drive
for live-assist or automated operation. A two-track production module is available
that does recording and cut & paste editing,
Available in combo production and control room or just control room, a full
system can carry up to three overlapping digital sources at the same time. Single
playback systems are available too. AXS runs on a graphics DOS-based system,
using a 486 PC that supports multi-tasking. It is LAN compatible and supports
traffic, billing and music software packages. The AXS log format includes music
and spots. It interfaces to a number of CD playback devices; Pioneer 6 and 18 disk
juke boxes and the JVC 100 juke box. Control options include keyboard, mouse
track ball, touch screen, external button box or via modem. APT-X 4:1
compression is also optional.
MICRO TECHNOLOGY UNLIMITED
MTU showed its MicroSound with MicroEditor 2.2 software. The system now has
mouse-able dynamic mixing of up to five stereo tracks live from one drive, 50
independent stereo playback tracks and SMPTE slaving. Mono sound files can
now be brought into stereo productions. The latest version features two
independent analog and digital I/Os. Delete and gain change edits are now done
in less than 1/4 sec. Other features include; hot keys for start and end markers,
auto save, up to 40 sound files in the same project, five parallel control lines for
machine control, overdub and punch-in record, one pre or post effect send, and
other house-keeping power and multiple preference settings.
Version 2.3 Beta was shown with four-channel digital and analog I/O and fewer
screens. Version 2.4 fader controller, horizontal panning fader during playback.
After some intra-company reorganizing, the AKG DSE-7000 made its first
appearance as the Orban DSE-7000. New since last year's NAB was
implementation of 64MB RAM cards for a total of 256MB (70 minutes) per
production. Two software upgrades (3.51 and 4.0) including features such as,
remote control, up to 2 GB storage, library sound preview, improved on-line help,
faster reload and improved error detection.
Orban was also showing two new I/O cards (analog and digital), both of which
may be used in the same unit. The analog offers 32KHz, 44.1KHz rates with 64x
oversampled Delta Sigma A/D conversion and 8x oversampling at the output. The
digital I/O offers AES/EBU and SPDIF at 32KHz, 44.1KHz and 48KHz with auto-
sample rate and format detection. Multiple sample rate converters allow
asynchronous digital I/O operation; input, output and project sample rates may
all be different. Output sample rate is constant, even in scrub and vari-speed
modes. The DSE-7000 may be used as a source of master sync or it will sync to
either of the digital inputs, NTSC and PAL or word clock. Every system in the field
ProDisk 464's Version 4.3 includes waveforms in edit screen, a new hardware
control panel and support for hardware control panel, CMX auto-conform. Their
almost-released 4.4 software supports record to edit screen, time compression and
expansion, a new library structure with database search and magneto-optical
Version 4.0 of the ADX software now runs on all systems. New features include
the vertical track display, 2 in/2 out eight internal tracks, DSP, dynamic
automation and built-in 3 band parametric EQ.
The ADX BASIC is a stand-alone, streamlined, two in/eight out version of the
larger workstation and is expandable to the larger system. It now includes a
Macintosh Quadra 610, a 16" monitor, keyboard and mouse, with a 1.2GB internal
hard drive that provides 3 track hours at 44.1KHz. The system also includes an
eight-channel digital editing and control system and a separate dedicated
hardware transport control. Additional SCSI devices can be added to increase the
storage and backup speed.
The ADX WORKSTATION now includes a Mac Quadra 650, expandable to 2.4GB
of memory, larger 16" monitor, 630 MB magneto-optical drive and six track-hours
recording time with expanded record time of over 24 hours available. The system
supports eight in/eight out/ eight record. Dial-up on-line factory support via
modem is standard with the ADX Workstation and optional with the ADX Basic.
A new unnamed system featuring horizontal and vertical editing screen scrub for
all eight tracks, faster editing, dynamic level is expected to be shipping within
Shippable in three months, Digital Delivery Systems by Radio Systems is a Unix-
based system that allows call up of any cut in the system on any control face.
It is intended to be usd as a cart and music replacement storage and playback
system capable of playing back 6 stereo hours (at 6:1 compression) through 16
stereo sources simultaneously, four stereo without data reduction.
REGISTER DATA SYSTEMS
The Phantom, by RDS, is designed for satellite-fed or on-premises automation, or
live-assist operation. The uses an i486-based CPU interfaced with video,
communications, DSP and data acquisition systems. The AMX-84 includes eight
10KOhm balanced stereo inputs that can be switched to any of four 600 Ohm stereo
balanced outputs. The software system allows for a high degree of programming
flexibility for spots, music and drop in announcements. Recording of feeds or
spots do not effect programming. Spots are rotated according to user programs,
Each input source has its own list of hourly clocks. Auto-Fill detects incomplete
spot breaks and fills them with a specified list. Each clock contains information
about stop sets that will occur within the hour. A running one-month history of
all system events, expired cart report, log problem report are part of the standard
The secondary DSP option allows on-air and production work to occur
simultaneously. The backup option supplies a second hard disk. Other optional
accessories include, remote control, VGA monitor, keyboard, and extension
For the Roland DM-80, Roland was showing software version 2.0 which supports
waveform editing in the remote control, additional (40) markers, enhanced
backup features, auto-trim threshold editing, cross-production access of sound
elements and increased editing of the mix automation data.
Roland also previewed version 2.0 of Multitrack Manager for the Macintosh with
the frimware upgrade, this new version also supports the use of up four DM-80
units for a total of 32 tracks.
STUDIO AUDIO DIGITAL EQUIPMENT
New from SADIE was the SADIE Disk Editor, a PC-based system with the
promise of lifetime software updates. New version 2.0 software supports 2 in/4 out
operation and includes internal digital bounce mixing, dynamic compression/
expansion, gated dynamics, three-band parametric EQ plus hi/low shelf, Noise
Abate (downward expansion), digital vari-speed with no sample rate change,
sample rate conversion, time compression/expansion, display of eight discrete
tracks, overdub, punch in/out, PQ coding for CD preparation and improved
Version 2.1, due later this year will show multiple channel waveforms and offer
CD-R support, mix automation, auto conforming and machine control.
New Version 2.0 software for the Spectral Synthesis Audio Engine supports
moving fader automation, on-the-fly punch in/out, magneto-optical support for
backup or recording for up to four tracks at a time.
Up to seven Q-Cards may be used for acceleration for DSP functions. The system
supports effect processing dual, single-band parametric EQ for each of 16
channels in real time.
Spectral Synthesis was also showing its AX-S stripped-down, two channel A/D
converters AES/EBU and talking about its Prisma single-card, 12 channel
workstation due in June. It should be file-compatible with the audio engine
system and is now shipping to dealers for demo purposes.
Spectral Synthesis also demoed Innovative Quality Software's Software Audio
Workshop using a SoundBlaster card to bring in video for spotting effects and
music. SAW's version 2.6 supports the mixing and playing of four stereo 16-bit
audio files (four stereo 48KHz files) using standard Windows sound card drivers.
The SAW system requires a 386-DX-40 PC, 8MB RAM, Windows 3.1 and a 16-bit
sound card with a Windows 3.1 compatible driver.
For the Dyaxis II, Studer/Editech showed their MultiDesk (TM) assignable
console, with eight automated touch-sensitive moving faders plus a master fader,
computer keyboard, a scrub control, and assignable buttons for machine control of
up to four external machines, auto-locater, jog wheel. Also new, MultiMix
Version 2.0 software provides dynamic automation with or without MultiDesk.
THE SYNCLAVIER COMPANY
Having sustained a financial reorganization in April '93, the Synclavier is back
with direct to disk recording, now on same SCSI buss as a Mac CPU. This
arrangement allows the Synclavier to be put on the Mac desktop where soundfiles,
sequences, and cues can be dragged and dropped to and from any device, Mac or
Synclavier and translated into AIFF, Sound Designer II, OMFI and Quicktime as
well as Synclavier sound files. Sounds can be auditioned directly from the
Macintosh through Apple sound manager 16 bit 44.1 or 48, mono or stereo.
S/Link, the proprietary software for a Mac, uses the Ethernet output of mac. The
system requires a Mac IIfx or faster with 8 MB RAM.
The MegaRAM 64 MB memory card option enables a maximum configuration of
768 MB of sampling RAM (equivalent to 2.5 hours of continuous recording at
The FastTrax 2.4 GB removable disk drive option for the PostPro SD, provides 1.5
hours of recording time at 44.1KHz on each of up to 16 tracks, with the ability to
swap drives during a session for backup during off hours.
Timeline is the most recent owner of the Waveframe workstation. Timeline has
combined the two previous softwares,The Editorial and DRM into the new version
Look for the Studioframe DAW-80, which works on a windows platform with a 486
66, 8MB RAM offers 8 analog I/O channels, 2 digital I/O channels, 16 bit input
and 18 bit output, MIDI automation, LTC reader/generator, VITC and composite
sync reader. The system incorporates a 10x2 mixer with 2 AUX sends with 8 in/8
out/8 record/playback architecture and supports M/O storage and streaming tape
Also look for Mediasound, TimeLine's software for SGI-based Indigo graphics
workstations. Using Indigo's built-in hardware, Mediasound provides six-track
operation with 16-bit A/D Delta-Sigma conversion and 18-bit, 8x D/A conversion.
Mediasound supports OMF transfers.
SOLID STATE LOGIC
SSL showed the evolution of their SoundNet multi-user networking sytem,
WorldNet-Project and WorldNet-Audio. The first enables the ransfer of entire
projects, thesecond relays "live" digital audio.
Also new was ScreenSound Version 5, which supports a faster processor and an
extended range of operational features. Version 5 also offers the option of integral
random access video in the form of VideoTrack.
Also new was SSL's Scenaria OmniMix digtal surround sound audio/video
system. Configured for the post-production market, OmniMix features a
substantial hardware control surface with 16 moving faders, dedicated metering
andcontrols. VisionTrack is also available with the system.
As with most DAWs, most owners love them, but will also honestly tell you that they all have their strengths and weaknesses.
Want better production audio?: Ty Ford's Audio Bootcamp Field Guide
Thanks for your comprehensive reply.
It certainally makes for an interesting read. I think that the only point we differ on is the interpretation of my exact wording.
Of the units/products you have comprehensively listed, Id suggest that only some have made it into my words of "real pro end". Devices like synclavier and fairlight (both of which Ive used over the years) are agreed, but came after the AF. Devices like Sadie are mere kiddies by comparison to the AMS and Fairlights etc.
Indeed if you check http://issuu.com/ams-neve/docs/ams_neve_anniversary_brochure_web you will see that in the anniversary brochure, the AMS is credited as the worlds first.
There are a few on your list Ive never heard of so make for an interesting read, but never made it to these shores, and definately not into the real top end facilities in NY, LA Hollywood etc , or into renowned places like Abbey Road, BBC, SKY which is the end of the business I was talking about in the main.
Cheers for the detail though.
I'm not sure what point you're trying to make, but to say that digidesign has been around since "only a few years ago" in pro use is, at best, very bad revisionist history.
The AudioFile came in in what 1984? It certainly was one of the early ones, but AudioFile was not alone in the beginning. WaveFrame and others were being used in professional studios. I saw them. I reported on them. I used some of them and in 1990 went digital with the DSE7000 that was used in many radio stations across the US. That was definitely a machine designed for pro use. It's not around any more, but it was a killer system.
We will just have to disagree about this. And that's OK
Want better production audio?: Ty Ford's Audio Bootcamp Field Guide
In response to Peter's question: I use an Audiofile SC32/SAM for recording music, albeit awkwardly. You mention "skip" - guessing you're in the UK too? Don't know what all that gear posturing is about from that other chap, to the tune of 50 odd chapters of unrelated response, but I also agree there aren't many editors in this class. In supporting that, I used a Dyaxis (still have parts from it), related-era Digidesign stuff, and Sadie as BBC Radio use as standard, and have looked over the fairlight MFX etc. Er, desktop audio editors in a PC and motion-picture scoring systems (only the fairlight and Audiofile fall into the latter from that great list) aren't really the same. Perhaps that battle of nomenclature kicked off with the declaration of: "..real pro end studio hard disc recording system.." -quite wide. :) If you mean serious motion picture scoring and dialogue / sfx non-destructive (all fades/crossfades in hardware etc.) production system, ahh. That's the ol Audiofile. Though, i'm speaking a few years ago now. heh.
On another note Peter, I have many parts after stripping down a second SC32 with SAM some months ago, and a lot of original software, manuals, bits, screws, cables etc. If you need something, I keep loads around.
Sorry this response is a bit late, but..
Hallo , sir
I have a studer DyaxisII , but missing all the cables to connect
to the macintosch 9600/300 computer .
Can somebody help me ?
regards , jeff
I'm afraid I can't help you with the cables, but can I ask why you want to get a Dyaxis II up and running again? Pure nostalgia? Not that there's anything wrong with that, it's nostalgia that led to me Googling "Studer Dyaxis" and finding this thread :)
I used a Dyaxis II with MultiDesk at BBC Radio One in 1994-5. I remember how expensive and cutting edge it was at the time, way in advance of the *very* old green-screen AudioFile that was the centre of the main Radio One production suite and which would crash regularly, especially if you tried playing a clip shorter than about 1 second, which made it useless for the style of radio imaging that was coming into vogue back then.
But I also remember that Dyaxis was limited in other ways, for example it only offered snapshot, not dynamic automation. I can't remember if there were any effects, reverbs or dynamics built in, my memory is that there weren't. I moved over to ProTools in late 1995 and to be honest, I didn't miss Dyaxis at all. But I'm very nostalgic about old tech, so I hope that one day I'll get to play with one again, especially if it's got MultiDesk attached :)
hi--yes, i am still using my AMS Audiofile--and mine is the GREEN SCREEN !!! I've had it since 1991, and have loved using it....but i think it may have suffered a fatal blow this week. It seems the power supply has gone up, and i don't even know where to turn to begin to see if anyone has an old dusty but working one somewhere. i may have to ditch the whole system which would be such a shame. i use Nuendo also, but there is no better editor than the Audiofile. Is yours a green screen by any chance? What is yours and what are you doing with it? i love Audiofile and can edit like the wind on it--i am so reluctant to give it up. Let me know your thoughts if you will. thanks--betsy/BH Audio
Im pleased someone is still using the AMS although youre an ever decreasing number. They are still the best editor as you know, but unfortunately fell so far behind with other issues that they got well beaten up by competitors. I know its more than a psu, but if youre still in love witht e platform and were feeling a bit flush you could do worse than this one on ebay
Make them an offer. Probably be the only one theyll get, and they know it.
alternatively give ams neve a call in Burnley UK. Theyll have a suitable psu, and hopefully nothing else will have been taken out too.
MIne still sits there looking retro, but no audio these days. Havent seen a green screen one in years.
Long since moved to Pro Tools myself.
I don't have any idea where to find a PSU for a green screen controller I'm sorry to say. Further to Peter Groom's post, I'd avoid those junk merchants like the plague. They used to be called "salvage-squad" as an indication of what they started as. As one negative feedback said about them: "The most annoying and vexatious people I have ever experienced!" I had an experience with them to this effect. I have a friend who bought a Logic 2 with Audiofile SC32 from them in the near past. Usual blurb about all working etc. He got it all, after paying a sizeable amount for it, and nothing worked. After spending weeks assisting him to get it to boot, it was found the display controller was duff, and with that, the system just sat there. Their reply to this was "we don't have any spares in stock at this time." and nothing. They are horrible junk dealers who know nothing about the stuff they buy in bulk from studio clear-outs, and care not that their listings are lies tacked onto info from google searches. Blaah!
Sorry that wasn't more helpful, but be warned about them, and the severe disappointment they cause.
I work for AMS in England and I just found this threadt by accident! If you like we can see if we have the part you need.
You may bot be aware but you could actually upgrade that AudioFile to the current spec for less than you might think!
PM me if you want more details.
Thanks for stepping up Mike.
Want better production audio?: Ty Ford's Audio Bootcamp Field Guide
Hi Mike...so glad you found the thread...and so good to hear from you. I would love to be in touch with you--we managed to get up and running last week with a used power supply from an old green screen I had in storage...but now I have lost two disk drives....I may have some spares in storage i'll look for next week but all in all I feel like I'm starting to skate on thin ice supporting my beloved green screen with needed parts. I love AMS and would love to talk to you about parts, upgrade, etc. My friends Louis Mills and Jim Mikles say that that you're the man to know for AMS, so I am very grateful you contacted me. My email is firstname.lastname@example.org if you'd like to get back to me that way or on here. Either way I look forward to more conversation with you, and thanks so much for finding me !! Take care and please be in touch. Many thanks--betsy/BH Audio
I am sorry I was unable to follow this through, the fact is that I left AMS at the end of January this year. If you are still interested in talking about upgrades etc then I would suggest you contact email@example.com or firstname.lastname@example.org
See this thread's been up a while but I figured I'd chime in anyway. I have been using an Audiofile since 2005. I work with Louis Mills, who was mentioned in a previous post by Ty. We started with the old "spectra" mainframe and 2 unit, and then upgraded to the SC-X in 2009. Very soon, we will be abandoning our AMS system entirely and replacing our entire setup with a Pro Tools system.
What can I say? To be fair, it's still probably the fastest dialog editor out there. It's control surface and user interface is uniquely well suited to that particular task, and I fear that I may never be as fast on a Pro Tools system. Close someday soon perhaps, but never "as fast".
Having said that, it's highly unstable (breaks down constantly...con-stant-ly), has no third party plug in support to speak of, has poor system intercompatbility (it's more or less a technological dead end), and no customer or tech support(zero, nada, zilch) on the North American continent. What's more, the customer support from the UK is, to put it kindly...less than stellar.
Pro Tools is a better fit for working with our video suites, has a ton of highly useful plug ins, a huge community of users, and--though I certainly have no delusions of technological perfection--much more stable in general than the Audiofile (and if you're a Pro Tools user who'd beg to differ with me on this point, I challenge you to visit our studio for a week to see if your mind doesn't change).
There are a number of other advantages that I won't list here, but on the whole, Pro Tools (and it's ilk) has much more going for it than our sputtering, cantakerous, but fast (when it's working) Audiofile.
I have to agree with you on all points raised. my AMS was getting tempremental on boot ups when i de commissioned it about 4 years ago.
Funnily this week, I brought it home. Its now in the garage pending its next move / fate. I couldnt bear to chuck it, but i know i have to. Think ill keep the surface as momento. Call it art.
Im freinds with a couple of the ex ams guys on Facebook. Theyre pretty well all gone (the ones who developed and supported it) so the time is past.
But yes it is the fastest editor ive ever bashed. And it so8unded best too, but the advantages of a supported developing product like PT far outweigh the small strengths of the ams in my opinion.
AMS should package and sell as a pt plug in, the source stack concept, cue window and trim window idea. Id pay good money for that in my pt.
Amazingly the SCX is still a current product on the ams website. vety few on the go in the uk now.
Post Production Dubbing Mixer
hi Peter--i know it's been many months....what did you do with the Audiofile? Do you still have it by any chance? The screen on the used SC we put in this summer just went. We can see from the dials that it's booting up....but the screen remains dark. It happened to my partner the other day & it eventually came on after about an hour, but today it did it again & it has yet to come on. Do you, or anyone, have a screen that would work with this system? Or any ideas what the problem is & know how to fix it? Or know of any other systems, including upgrades, that would be available?i am kind of desperate--this was my back-up system to my 19 year old green screen we just retired 6 months ago, and now this one is unusable because you can't see what you're doing. Gee i don't want to give up AMS altogether yet.....even though i know that's what makes sense. Any ideas are most helpful. And if anyone has or knows of a power supply for the green screen, i guess we could always resurrect that :-) thanks-bh
This screen issue was quite a common fault. It was caused by insufficient startup current getting to the backlight driver. I think there is a Factory mod to cure it.
For more details you could contact email@example.com or firstname.lastname@example.org
Well , well, Mike Reddick, how the devil are you?.
I still have a mint condition Audiofile 16 track SC (apart from the fact that I think the BIOS battery has died) circa 2004. It has had a long afterlife mainly editing oral history projects and talking books. As a simple tape editor the interface is still hard to beat (jog wheels and soft keys still perfect for the job) and unlike many other editors it does it all in real time (no rendering or clip bouncing). I have taught many students the rudiments of editing craft on it.
This summer I have to decide whether to upgrade it for old times sake or sell it as spares. I understand that the upgrade gives it a madi link between the control p c and the convertor rack. (How old is madi too 1983?? and having another new lease of life- just seen a madi to usb gizmo)
Meanwhile back to the Sadie (6)
best regards Richard Daniel
Hi--i am a current Audiofile user and read your post. If you decide to sell off your SC, please please contact me and we'll try to work something out. i hope to continue working on an Audiofile, for the very reasons you mentioned. Please be in touch. thanks--betsy/BH Audio/Baltimore, MD.
ps. my contact info is: email@example.com
studio: 410-486-0555 cell: 443-831-1987
I am good thanks. Nice to hear from you.
It's been a year since I left AMS now so I might be out of touch with current developments but as regards the AudioFile SCX most recent platform I was involved with, the upgrade actually replaces your entire SC computer and 8U mainframe with a single 4U box which contains the PC motherboard and the proprietery AMS SCX hardware. This single box countains hard drives and connects to the Spectra controller.
The I/O is solely MADI on the rear of the unit.
The early SCX upgrades attempted to retain the 8U mainframe and replace the PC motherboard and much of the hardware in the mainframe with the SCX hardware. This turned out to be much to complex to do in the field and I came up with the idea of housing everything in a single 4U box. So - whilst it is called an "upgrade", in fact you replace everything except the Spectra. Having said that, it was priced quite reasonably considering what you were getting.
Some of the latter improvements to this platform included using Solid State drives instead of SCSI and also including a Blu-ray burner.
Thanks Mike--so nice to hear from you. Where are you now?
i was in touch with AMS based on the email addresses you had given me previously--thanks for that. They sent us a new screen--but that didn't turn out to be the problem. Then they sent us a new inverter and that seemed to do it. Jim told me to send back the screen, which i did, but it ended up costing me a fortune to fedex to the UK--if i had known that i would have kept it as a spare, especially b/c it doesn't seem to be automatic that i will get a full refund on it, but i hope so b/c it was pricey and i don't even have it anymore !! Anyway, we are communicating about it.
Chris Bloor, Mark Leah, and Rachel Pool were helpful with this issue, but i do wish i felt AMS was better supported. i would even consider buying a new one if/when i need it, but the support does seem to be difficult from the other side of the pond.
Anyway, thanks so much for your continued interest. Take care and let us know where you are these days.
all the best--betsy/BH Audio/Baltimore, MD. USA
Glad to know you got some help in the end. I'm now working for an English company called Calrec who manufacture digital audio consoles aimed primarily at the broadcast market. Actually I will be at the NAB on the Calrec booth :-)
HI Mike. Just thought Id pop up and say hi. Seems all is good at Calrec. Is Dave Somers well too?
Post Production Dubbing Mixer
Nice to hear from you! I've not seen or heard from Dave since AMS made him redundant a few years ago but I did hear that he was working for the BBC.
Thats a pity. You were close co workers on the audiofile development for a long time.
No doubt ill see you at a show etc sometime
Post Production Dubbing Mixer
Brendan,, et al,
I think my pal Jay Rose holds the land speed record for fastest editing using an AKG DSE 7000 that has been long in the grave. There was a speed test way back in the previous millennia and he won that. I had a DSE 7000 when Louis Mills was still at Flite Three and found it extremely fast and accurate. I never operated any of the AMS AudioFiles he had there, but did spend a lot of time watching him and hearing him complain about the maintenance problems.
In fairness, I think a lot has to do with the system one becomes used to and the specific technique used. Earlier this year I was asked by Mike Collins to help edit a gargantuan amount of narration. After discussion how he wanted it, I began and found that I was soon able to edit in real time as the track played, staying just ahead of the play head for a lot of it; visually seeing the retakes and doing them as the track continued to roll.
It's not always about the speed, of course. (and I know Brendan knows this folks because I know him). If it is about speed for you, maybe think about stepping away from the caffeine.
Have a great day!
Cow Audio Forum Leader
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