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creamware pulsar 2 manualSCOPE v7 is a chargeable upgrade and requires a registration. SCOPE SDK v7 is a chargeable upgrade and requires a registration. MODULAR 4 is a chargeable Plug-In and requires a registration. Download Discontinued Products ASB, NOAH, A16, Klangbox, CLAN (CUTmaster, easyCUT, tripleDAT) Download All Products If the software you are looking for is not listed here, please visit our download server. Server Please note: Support for discontinued products provided by former Creamware GmbH cannot be guaranteed. Update your SCOPE DSP hardware by our latest SCOPE software to enable us providing effective and free support. Follow the hints at Discontinued Products. Subscribe to our free newsletter Request a new review Today I'm working with an M-Audio fasttrack pro, the sound is nickel for the home studio and it's much easier to use. 1 of 5 people found this review helpful Did you find this review helpful? yes no. For every level: the composition and mastering or live through the analyzes. No need to have a big config since the calculations are done on the DSP card. Good ventilation it may be useful during a heat wave. The updates are rare but it is good as gold (often pay unfortunately, but offset by additions or major changes) GETTING STARTED for installation, no worries if 0 concerns with the drivers. Have to like hack, modularity is one of the purpose of material.OVERALL OPINION For over ten years. I tested and I still work on other sound card, but there's almost no comparison (limit: uad, tc, protools hd.) I love power, Modular, the adaptable, sounds, FX. I do not like the drivers, the updates late and prices. Is what I would do this choice. I'm waiting for version 6 now say definitely yes, otherwise it was YES for at least 5 years. Did you find this review helpful? yes no. My G4 at the time was in 32MB RAM with an SD of 250 on OS 9.http://fcimoveis.com/imgs/echo-w1-instruction-manual.xml
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I'm running Cubase which was itself appealed to the pulsar, so Recycle I just needed a small table, listening and my Ensoniq MR 61 (great machine). UTILIZATION Super stable platform on OS 9 and Windows XP the rest I've never tried. I stopped at the 4.x has a maj (I do not remember the exact release more) Link with Cubase VST 5. No problem to run a dozen audio tracks purely Latency less than 10ms ok GETTING STARTED No worries of installation. As for starting at the time the environment was very innovative and it took me a while to adapt. After a time my config start up, no problem. Compatibility side my big concern was that Creamware has never released a version for Mac OSX then after 3 years managing a dual machine, I changed platform. OVERALL OPINION I used it for at least 7 years without worry, I would have paired with a second time if I could. Yes, I would do without this choice problem. 1 people found this review helpful Did you find this review helpful? yes no. Uncompromising sound quality. New OS for the card. Evolution of soft 12 years later! (My first board running Win98 on a Pentium 3 400MHz!) 3ms latency ASIO driver dynamic variable number of channels. 100 audio tracks without any problems, never needed more. Instruments of the highest quality sound. The new OS can rotate the map in XP64bits. I'll try soon! GETTING STARTED No problem provided you have the latest OS. The cards went from PC to PC and PC's are still working.My shopping is now done and I was jubilant with joy. I usually work with the Electroacoustic, ambient, noise, etc. The synth has knows me too, but say that I use less. So C'tait: mixing, effects, sampling and modular m'intressaient with the Pulsar II. All controllable by MIDI automation point. UTILIZATION No problem with XP installation. Only problem: the physical space for the card, prs of 8 inches long if my memory is good. With only two free PCI.Only imcompatibilit: with Logic, error messages at launch, but no effect at work.http://www.eventing.hu/userfiles/echo-weed-eater-manual-srm-210.xml Normally, the card offers two MIDI port via PCI.A good deal of exprience and knowledge is useful wiring. The manuals are not super synth I got. I wish I had the schmas to understand the indoor. What good is 5 2 osc synth with all filters, env, etc.GETTING STARTED Some disorder of ACCS from squenceurs twelve o'clock. But a possible solution. No problem with ASIO. Latency, inaudible. OVERALL OPINION For a month, at least open the horizons. I love mixing with the FX consoles and the Pulsar II. The modular is also excellent. The STS-3000 can be very useful but limited in comparison to my own exprience pass sampling with the Yamaha A4000. Think buy the card just before Christmas for the spcial with plugin pack free. I took the Master Mix and pack that j'apprcie specially. Compression, and rverbration psyQ are handy to master in real time while the composition rolls as usual on soft and hardware external best view of your exact final. I like this. With the Master Mix and pack, be said that the vocodizer really INTERESTED. The question: is it useful with a large CPU or G5. For the trip of DASP and the quality of soft yes, but otherwise. ? Basically, I love. I would have to develop AIM accder kit to make my own plugins and treatment algorithms. I'm even more certain it is available. Did you find this review helpful? yes no. C The only thing that everything is planned for the numrique (ADAT), I, I looked smart with all my jacks plugged into the rack of isis, kesske I do?? c true that I prfr several analog inputs.UTILIZATION Install without problem, in fact c not a sound card, c ddi a computer processing of sound that you install in your computer. We really feel srieux when installing this machine and c not an impression. The only problem, i come over Logic or Windows as creamware (yeah I'm on a PIII 1GHz with Win98SE, Asus motherboard, Intel, 256 ram, 40GB disk) The manual is useless, i did 50 pages to explain how to install the software. I prfr someone to explain the first step or p'tits Paske tutorials. well. we are not all ingnieur sound and there are things we can not invent. In fact the true doc is on the site creamware PDF: 35 MB Tlcharger !!!??? c really the black mess.OVERALL OPINION I have been using one about me, I am more than satisfied, even hallucinating carrment, i like the synths too: j'fais hiphop sounds for friends, they allucinent on bass. In terms of mix, c too powerful, but I'm gonna I'm not specialist in the dev'nir, compression, EQ, I left.Fuck Windoze! Did you find this review helpful? yes no. The analog connector is in RCA jack instead of the XLR on the Pro version. UTILIZATION Installation is fairly simple, just install the card and load drivers. The complication comes over the implementation because the particularity of this map is to provide a virtual studio that will set inside the house before the software interface to exploit its system. The paper manual is pretty basic, but the included CD offers a complete documentation GB format PDF. GETTING STARTED Present version of the interface PULSAR, driver and management software is version 3.01, but I'm waiting forward to version 3.1 which will enable to manage this map as a simple sound card and use synths or effects associated directly inside of our favorite sequencer. Version 3.01 fully supports Cubase, Logic and Digital Performer and all applications Audio format support ASIO2. The latency of the map is customizable, and its resolution. The dynamic is quite good, the effects included too, and some synths card sound great. Pulsar card he y '6 and a DSP Scope y'en it has 15.Did you find this review helpful? yes no By using our services, you agree to our use of cookies. Find out more. Here, a sequence in Nuendo is triggering three Inferno synths and an EDS8i drum synth, with their outputs being routed into an SM2448 mixer with the output from Gigastudio. There isn't another system on the planet that makes this possible. We take a detailed look at the system and investigate what you might be missing. While most computer-based musicians will be familiar with the name Creamware, relatively few know exactly what its product line offers — a situation that hasn't always been helped by Creamware's often confusingly similar products and bewildering array of options (you can find an attempt to explain these in the 'Meet The Family' box).The best-sounding virtual synths available for any computer-based system. Backwardly compatible and expandable, compared with other manufacturers whose new systems require the old ones to be replaced.The cost of the higher-end systems might be prohibitive for some. The SFP will leave you with a bad case of DSP lust.Once you've had an SFP card in your computer, I think it's unlikely you'll ever want to be without one again. Although the user interface is powered by the host computer, much like a DSP-based Pro Tools system, all of the signal processing is handled by the DSP processors on the SFP's hardware, which currently takes the form of a family of PCI cards, and is soon to be joined by Noah, an external device that can also run in a stand-alone mode without a computer. However, this isn't a problem, as one of the strengths of Creamware's SFP is the way it can integrate with your current music software and run all your host-based instruments and effects alongside the DSP-based SCOPE software. Later, we received a Power Pulsar Z-Link system running version 3.1c of the SFP with all the optional software that Creamware currently have available. We were also sent an A16 Ultra, Creamware's high-end 16-channel A-D and D-A converter, which connects via two Z-Link connections to the card you're using (for more on the A16, see the box on page 106). Z-Link is a Creamware proprietary protocol that uses a Firewire-based connection to send and receive eight channels of audio at a 24-bit resolution and 96kHz sampling rate. Finally, I was able to press my old 1999-vintage Pulsar I card into service during the review as well (see the 'Please Sir' box elsewhere in this article). You'll need to make sure you have a standard ATX-sized case with a clear run to the back on one of the lower PCI slots to install the larger card. However, I've had no problem in fitting the smaller Pulsar card into a Micro-ATX case before now, and the Luna II card is no bigger than most ordinary audio cards. After inserting the Windows installation CD-ROM (both Mac and Windows discs are provided), the drivers were installed and I was ready to go ahead and install the main SCOPE Fusion Platform (SFP) software. After selecting the card for which the SFP software is to be installed, you could enter the series of codes printed on the label inside your installation manual. I say could because Creamware have provided a far more sensible alternative. When you register your card on Creamware's web site, you can download a small text file (just a couple of kilobytes in size) containing all the authorisation codes for the products you're currently licensed to run (including any additional products you might have purchased from Creamware's on-line shop), which can be imported into the installer with a few clicks of the mouse. This is a brilliant idea; for once you feel as if the manufacturer has done everything possible to make sure the copy protection really is as painless as possible. When you restart, the SFP software will run automatically, and you'll notice an SFP icon appearing in the Taskbar's System Tray, providing access to the main windows. The Power Pulsar card we were sent for review is just one of many cards that are part of Creamware's SFP platform. I played around with a Luna II on one of my machines prior to this review and found it to be perhaps the best soundcard for the composer who's working on a single workstation. While the three DSP chips are soon exhausted, there's enough power for low-latency operation, the extensive signal routing (ideal for anyone looking to use Gigastudio on the same machine), a good reverb, and a few other effects or maybe a synth. In terms of software, the Luna II is bundled with the main Studio Tools package, Vocodiser and, for Windows users, Volkszampler. However, the Luna II is also available in the guise of Creamware's Power Sampler system, which is basically the Luna II card with the optional STS sampling software range. The SCOPE ADAT card. The Pulsar II includes the main Studio Tools package, Mixer Package 1, both Effects and Synthesizer packages, Modular 2, and the Volkszampler (Windows only), as well as the STS2000P and STS3000 samplers. Have a look at the 'Please Sir, I'd Like Some More!' box over the page for information about connecting multiple SFP cards in one system.In previous versions of the SFP software, the user was only provided with the Routing window, and while this provides great flexibility, it was often daunting to new users, making simple tasks (such as changing the audio output to which a synth is routed) more complicated than they needed to be. Additional pages are available to access a list of the inputs and outputs available, and the Live Bar can be left on screen as a floating window, which is especially handy when you're running other applications alongside the SFP software. The user interface for each device is accessed by simply double-clicking the device on either the Routing window or the Live Bar, and you can resize the Live Bar so it only shows the icons, providing easy access to the devices' virtual front panels. Adding a device to this virtual studio is a simple matter of either clicking in the Live Bar and choosing the required device, or choosing from one of the menu titles along the top of the Routing window. The software makes a reasonable attempt at patching the device into your current project — a synth would automatically have its MIDI input connected to the hardware MIDI interface and its audio — although it's easy to change this initial configuration in either the Routing window or the Live Bar. The reason for this apparent delay is understandable. As Creamware have explained, to get their range of cards working on OS X requires more than just writing suitable drivers — they have to port the entire SFP software, which takes a great deal of time in terms of development and testing. So while it's annoying for Mac SFP users looking to move to OS X, it makes more sense for OS X support to be included in the next major version of the software. For example, running Gigastudio and a sequencer which uses VST instruments (such as Cubase SX) on the same computer is always something of a pain, especially when you want the overall output of the two applications to be mixed internally and come out of the same physical output on your soundcard. But with the SFP software, this is a piece of cake, because you can route your ASIO and GSIF output to a mixer device (and even add some reverb while you're at it) and have this mixed to your master output. You could even route your GSIF output back into an ASIO input for bouncing, or even route the whole master output back into your ASIO input for recording the final mix. However, like any other soundcard, the buffers used to send audio from an ASIO application or Gigastudio have the potential to introduce more noticeable latency when using host-based effects and instruments. Creamware products have always been pretty good when it comes to driver-based latency — the original Pulsar card, reviewed back in SOS March 1999, can be set to 13ms at 44.1kHz using the latest v3.1 SFP sofware, which is the lowest setting you'd want for attempting any serious work, but is still impressive considering that product's vintage in the technology world. However, the second generation of Pulsar products (including Pulsar II and all the current hardware offerings) feature what Creamware call ULLI — Ultra Low Latency Interface. Aside from sounding like the name of your German best mate, what ULLI means in practical terms is latency as low as 1ms at 96kHz, or 3ms at 44.1kHz. Latency has never been an issue for me with Creamware products: with the Power Pulsar system under review, I just set it to the lowest setting and forgot about it. The only time you have to be slightly more conscious of latency is when you're routing between different software driver models, such as routing the output of Gigastudio into an ASIO application, as described earlier. Because the latency setting is effectively a one-way ticket in or out of one driver model, the latency would be doubled for Gigastudio's output when routed through an ASIO application, since the output of Gigastudio is affected by the 3ms buffer going into the ASIO application, and another 3ms when combined with the overall output from the ASIO application — 6ms in total. This really isn't a big issue when you're dealing with such low values, but if the latency is set to 13ms, for example, it means an unplayable 26ms for Gigastudio in the scenario described. However, this isn't really a criticism, as even Creamware are bound by what's possible from a technical perspective in a DSP environment. This means that you could route 96 simultaneous outputs from both Gigastudio and your ASIO application of choice, for example, and mix entirely in the SFP software. Alternatively, with your ASIO application, you could use these virtual ins and outs as send and return busses to the SCOPE effects. For example, the default ASIO devices support a 16-bit resolution and 32 channels, but other SFP ASIO devices allow for ASIO 2 support, up to 64 channels, and 24-bit or 32-bit resolution, which require slightly more resources because there is simply more data to move around the system. The 32-bit support is particularly useful since this saves your ASIO output from having to be truncated or dithered in the ASIO application, allowing it to be processed directly into the 32-bit SFP environment and back into the ASIO application at 32-bit for mastering, for example. The fact that this routing flexibility is only the beginning of what's possible and enhances the use of all the other devices, such as mixers, instruments and effects, only serves to make the system more appealing. To put a multiple-card system to the test, I installed my old circa-1999 Pulsar I card alongside the Power Pulsar card. Creamware recommend using the middle PCI slots, but since I'd already installed the Power Pulsar in a lower slot, I thought I'd leave it where it was in the intersts of journalistic discovery — in other words, I was too lazy to change it. Once I booted up the computer again, Windows prompted me to install the Pulsar drivers. The installation manual states that it's fine for multiple Creamware cards to share the same IRQ (so long as no other resource shares that IRQ), but since I was running Windows XP with ACPI enabled, I didn't have much choice in the matter. Following the instructions provided, you next have to close the SFP software (if it's running) and make some manual adjustments to one of the SFP configuration files — this is painless, but I can't help thinking a Windows front end would be better. A simple test to confirm that the system was working was to play Minimax from one card's MIDI input with the audio output coming from the other card — and everything worked fine. The fact I could use a four-year-old Pulsar I card with a brand new Power Pulsar is particularly commendable, and it means that your investment is protected. Additionally, the A16 has a built-in memory so your last settings are automatically recalled, and if the unit encounters a sample-rate or synchronisation error, it will automatically mute itself to save your speakers and your sanity, indicating an error on the front panel. Although Z-Link is essentially a Firewire interface, you can't plug a Z-Link interface like the A16 directly into an ordinary computer Firewire port to use it as a stand-alone Firewire audio interface. However, the A16 does feature room for an optional expansion card that was originally intended to turn the A16 into a stand-alone USB 2 audio interface. When I asked Creamware about this, it seemed more likely that a Firewire interface would be released instead, enabling the A16 to be used as a Mac or Windows Firewire audio interface without an SFP card, much like the MOTU 896. We'll have to wait and see, though! The STM1632 is the default mixer that you'll see when you first start working with the SFP software, featuring 16 channels that can be used independently as either mono or stereo for a total of 32 inputs, mixed to a stereo buss. Each channel can accommodate four aux sends and two insert effects (which you can select from pop-up menu, rather than having to re-patch anything), and the whole mixer can be remote-controlled and automated using MIDI controllers. The second mixer provided is the STM16S, which offers the same basic functionality as the STM1632, but works in 5.1 surround instead, providing a surround panner for each channel and a six-channel master buss. To overcome this problem, headlining the Main Studio Tools set of effects is Masterverb, a reverb that's definitely better than most native-based alternatives, and certainly comes close to the CPU-hungry high-end native alternatives. However Masterverb doesn't place any demands on your CPU and uses only around four percent of a 19-DSP system — and even when I was testing a basic Luna II-based SFP system prior to receiving the Power Pulsar, I could run several Masterverbs, which was absolutely ideal for using with Gigastudio and the Vienna Symphonic Library, for example. If you need the best reverb for your SCOPE system, Creamware also have Masterverb Pro, which can be purchased separately. And other than reverb, the Main Studio Tools Package also includes 14 other effects: Kompressor, Limiter, Gate, Expander, Parametric EQ, 4-Pole Filter, High-Cut Filter, Low-Cut Filter, Chorus, Flanger, Phaser, Delay, Dual Delay, and Distortion. As you might imagine, the EQ and filter effects are particularly good, and Dual Delay is great for creating tape-delay-style effects, especially for those Edge-like guitar parts and big synth sounds in general. For MIDI, Key Split enables you to set a split point between a range of notes, so you can send the upper and lower ranges to different MIDI outputs. There's nothing to prevent you from using multiple Key Split devices in one Project if you want to set up more complicated performance Projects. There's also a selection of MIDI-merger devices enabling you to route two, four, eight or 16 inputs to one output, which is handy for feeding two or more MIDI inputs into one synth, for example. Rounding off the MIDI tools are the self-explanatory MIDI Monitor and MIDI Filter, Sequencer Remote, for remote controlling the transport of your sequencer via MIDI controllers, MTCtoCLK, which converts MIDI Time Code into the Clock format required for TripleDAT users, and, finally, Notepad, for making text-based notes within a Project. Instead of running the normal SCOPE software front end like other SFP-compatible cards, Pulsar XTC introduced XTC mode where, with the bundled VST plug-in to direct any required processing to the Pulsar XTC card, a SCOPE effect or instrument device could run as a VST plug-in within a suitable host application. Unfortunately, you have to close the ordinary SFP software, waving goodbye to all those lovely routing facilities, before you can use your SFP card in XTC mode. However, if you spend nearly all of your time working in Cubase, for example, XTC mode makes a great deal of sense, since the routing to and from Cubase and your SFP hardware is taken care of for you. As mentioned in the box on latency earlier in this article, playing a SCOPE instrument so the output doesn't pass through an ASIO driver's buffers normally allows that instrument to be played virtually latency free. However, running a SCOPE instrument in XTC mode as a VST Instrument causes that instrument to be affected by the overall ASIO latency. Fortunately, Creamware have come up with a particularly neat way of overcoming this problem by implementing a feature called Direct Play (which, by the way, isn't related to Microsoft's DirectX technologies). What Direct Play enables you to do is route the output of all the SFP instruments (when they're used in XTC mode) directly to one of the hardware outputs on the card, enabling them to be played as if they were running as stand-alone instruments, rather than VST Instruments. This is for those users who want to undertake the majority of their mixing work with the SFP software, or perhaps want to dedicate an SFP workstation as their digital mixer. The STM2448 builds on the STM1632 by offering 24 channel strips (for a maximum of 24 stereo channels), eight auxiliary groups, which could be used for send and return effects, and six dedicated mono sends and a stereo send with two inserts for the return channels. Each channel features its own independent EQ and a compressor with side-chain, along with four additional insert effects, while eight fader groups and mute groups can assist the mixing process. In addition to the STM2448 mixer, Mixer Package 1 also includes Dynamic Mixer and Micromixer, which Creamware recommend for submixing.Effects Package 1 focuses on delay-based effects, with some featuring a delay time of five seconds, along with other effects such as Auto-Wah, the great-sounding Hexa Chorus, Early Reflector, Harmonic Flanger, Overdrive, Pitch Shifter, Resonator, Ring Modulator and Tremolo. Effects Package 2 also features Master Chorus and Master Flanger (in the same vein as Masterverb), De-esser, and Stereo Expander, to name but a handful.While I would welcome a printed manual with open arms, even if it was just a 'getting started' guide, I have to concede that the electronic documentation is actually pretty good. It's well organised with hyperlinks and plenty of helpful tips, and the different documents are easily opened via a pop-up menu on the Live Bar. But I think the best aspect is that the PDF files have been properly designed for on-screen reading, which makes a pleasant change. Rather than simply design a manual as if it was going to printed on A4-sized paper, for example, which nearly always results in scrolling or wasted screen space, Creamware have chosen the page size to conform with a typical aspect ratio so that each page fits neatly on the screen without scrolling. The core synthesizers are split into two so-called Synthesizer Packages, much like the effects, and every SFP system except those based on the Luna II card includes these two packages as standard. I think my own highlight in this package was the virtual analogue Blue Synth, and while the world isn't exactly short of subtractive synths, I really liked the character of this particular instrument — it seemed to make knocking out those cliched trance sounds very easy, ably demonstrated by the collection of presets. Again, the comprehensive selection of presets will give you plenty of ideas and starting points, not to mentioned classic Juno-esque sounds when you're not in the mood for programming. Staying with classic synths, Synthesizer Package 1 also includes Miniscope and Miniscope MkII, Creamware's first attempts at recreating the Minimoog, recently perfected with Minimax (see the box, later). The first synth package rounds off with EZ Synth (a fairly basic one-oscillator, one-filter, one-envelope instrument that didn't do much for me compared to the other offerings), and EDS8i, a drum synth that's capable of generating eight different types of analogue-style synth drums, including kicks, snares, and hats. Lightwave is a wavetable synth (with 128 wavetables) very much in the tradition of synths like the PPG Wave, and Prisma is another subtractive synth, but one that's made extremely versatile by its inclusion of a substantial modulation matrix. Finally, there's Inferno, which produces some very William Orbit-like bass and lead tones thanks to its unbelievably resonant filter. It's great at creating sounds for arpeggiated patterns, too, which brings me neatly to Arpeg 01, a MIDI arpeggiator that can be placed between the path of your MIDI input and synthesizer. SB404 is another modelled analogue synth, but this one features a built-in step-sequencer for creating more movement in your sounds, while Poison combines both subtractive and FM synthesis in one instrument.