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[supernova777]

this list is steamlined from the others, to simply shows the audio interfaces that feature BNC word clock in&out (hiding those that dont feature word clock)
this feature is important for maintaining sync between audio interfaces when using aggregate setups (combinations of devices summed to provide more comprehensive i/o) it might be argued that this is a professional feature reserved for devices that woudl most likely be used in multi-setups with more i/o provided from using multiple interfaces simultaneously

motu 828 mkII (2004)

connects via firewire | mkII has added features: MIDI I/O, word clock support and SMPTE sync. (not included on original version)
http://www.soundonsound.com/sos/jul04/articles/motu828mkii.htm
manual: http://cdn-data.motu.com/manuals/firewire-usb-audio/828mkII_Manual_Mac.pdf

Note that the 828 MkII has been designed to allow you to use multiple units together, but whether this is possible depends on the operating system of the host computer and/or the audio software you're working with.

M-audio Delta 1010 (2000)

manual: http://www.m-audio.ca/images/global/manuals/070208_Delta1010_UG_EN01.pdf
connects via PCI | allows use of m-powered 6.8+ on mac osx
more info: http://www.soundonsound.com/sos/jan00/articles/midiman1010.htm
2 notches in pci card denotes powermac g5 compatibility | 1 notch means g3/g4 compatible only
can be combined with up to 3 other delta cards to add addtional i/o
lacks compatibility with rca or xlr jacks, no mic preamps

M-audio Delta 1010LT (2001)

2 notches in pci card denotes powermac g5 compatibility | 1 notch means g3/g4 compatible only
can be combined with up to 3 other delta cards to add addtional i/o
features 2 mic preamps but no 1/4" instr. jack compatibility

edirol da-2496 (2002)


connects via its PCI card the "DA-PCI"
larger image: http://medias.audiofanzine.com/images/normal/edirol-da-2496-640408.jpg
more info: http://www.soundonsound.com/sos/aug02/articles/edirolda2496.asp
manual: http://lib.roland.co.jp/support/en/manuals/res/1811338/DA2496_s_e1.pdf
drivers: http://www.roland.com/support/article/?q=downloads&p=DA-2496&id=1812652
drivers range from win98-windowsXP for pc | os9-osx for mac
the pci card ("DA-PCI") that this interface attaches to i have read is identical to a "Roland RPC-1"
which a pci card that can be used as an interface as well

http://homerecording.com/bbs/general-discussions/digital-recording-computers/delta-1010lt-edirol-da-2496-a-204693/

tascam fw1804 (2006)

more info: http://www.soundonsound.com/sos/jan06/articles/tascamfw1804.htm
driver: http://tascam.com/content/downloads/products/309/fw1804_os9_1_4_0.hqx
manual: http://tascam.com/content/downloads/products/309/FW-1804_OM_Eng_web.pdf
connects via firewire | possibly the last device produced by tascam to support os9?

m-audio firewire 1814 (2004)

info: http://www.soundonsound.com/sos/Oct04/articles/maudio1814.htm
connects via firewire |  allows use of m-powered 7+ software under osx | NOT BUS POWERED requires 12v dc powersupply
manual: http://www.m-audio.ca/images/global/manuals/FireWire-1814_Manual.pdf

Tascam FW1884 (2003)


driver: http://tascam.com/content/downloads/products/229/fw1884_os9_1_2_0.hqx
manual: http://tascam.com/content/downloads/products/229/fw1884_manual_e_1_00.pdf
info : http://tascam.com/product/fw-1884/overview/
more info:  http://www.soundonsound.com/sos/nov03/articles/tascamfw1884.htm


yamaha dm 1000


rear; http://www.yamahacommercialaudiosystems.com/images/photo_lib/DM1000_sp_rear.jpg
more info: http://www.soundonsound.com/sos/jan04/articles/yamahadm1000.htm
video: http://www.youtube.com/watch?v=V9q5VSrgdCI

echo layla 20bit 1999

mac os 9 driver?

echo layla 24 (2002?)

driver: http://files.echoaudio.com/drivers/mac/install_echo24_6.04.hqx
more info: http://www.soundonsound.com/sos/jun02/articles/echolaptop.asp

echo mona (2002?)

driver: http://files.echoaudio.com/drivers/mac/install_echo24_6.04.hqx
more info: http://www.soundonsound.com/sos/oct00/articles/echo.htm

presonus firestation (2003)



manual: http://web.archive.org/web/20040528111816/http://www.presonus.com/pdf/firestation_manual.pdf
front outline: http://web.archive.org/web/20071005110147/http://www.presonus.com/images/diagram_large_front_firestation.gif
rear outline: http://web.archive.org/web/20041028144958/http://www.presonus.com/images/diagram_large_back_firestation.gif
install guide: http://www.presonus.com/uploads/products/1144/downloads/FIREstation_Quick_Start_Mac_EN.pdf
more info: http://www.soundonsound.com/sos/feb03/articles/presonusfirestation.asp
manual: http://www.presonus.com/uploads/products/1144/downloads/FIREstation_Owners_Manual_EN.pdf
driver: http://web.archive.org/web/20040528111816/http://www.presonus.com/drivers/drivers_macos.sit
the firestation can be used as an adat slave much like the behringer ada8000 adat unit to attach to the Digi 001, Digi 002, or other interfaces that feature Adat expansion

The FIREstation is designed for use with Windows XP and Macintosh
OS 9.x. Other operating systems are not currently supported by
Presonus or Yamaha

korg 1212 pci (1997)


http://webcache.googleusercontent.com/search?q=cache:5sjXRYkzHo0J:www.korg.com/uploads/Support/english_633661595520240000.pdf+&cd=1&hl=en&ct=clnk&gl=ca&client=firefox-a
http://www.soundonsound.com/sos/1997_articles/jul97/korg1212.html
manual: http://www.korg.com/uploads/Support/english_633661595520240000.pdf
connects via pci | S/PDIF, stereo analog i/o +4/-10 | ADAT i/o | word clock bnc | Adat sync

RME multiface (2003)

DRIVER: http://www.rme-audio.de/download/treiber_archiv/m9652_161.sit
http://www.rme-audio.de/old/english/hdsp/multifa.htm
part of the hammerfall serise & connects via pci or cardbus card (more info : http://www.rme-audio.de/old/english/hdsp/cardpci.htm)
   

8 x analog line I/O, 96 kHz/24 bit, SNR 111 dBA, 1/4" TRS jacks
    1 x ADAT digital I/O
    1 x SPDIF digital I/O
    1 x Word clock I/O (BNC)
    1 x hi-power analog line/headphone output, separate output for independent submix
    1 x MIDI I/O, 16 channels high-speed MIDI
    Hardware level calculation: freely scalable level meters, peak and RMS calculation without CPU load
    TotalMix: 720 channel mixer with 40 bit internal resolution. MIDI remote controllable.
    S/MUX poured in hardware: 4 channels 96 kHz/24 bit for record and playback via ADAT optical

RME digiface

http://www.rme-audio.de/old/english/hdsp/digifa.htm

RME Hammerfall DSP 9652 (2003)

http://www.soundonsound.com/sos/sep99/articles/rmehammer.htm
http://www.soundonsound.com/sos/jul03/articles/rmehammerfall.asp
http://www.rme-audio.de/en_products_hdsp_9652.php
http://www.rme-audio.de/en_downloads_driver_archive.php
http://www.rme-audio.de/download/treiber_archiv/m96_16.sit
http://www.rme-audio.de/download/treiber_archiv/m9652_161.sit

As in the original Hammerfall, the 9652 product number refers to the fact that the card supports sampling rates up to 96kHz and audio inputs and outputs for up to 52 channels — 26 inputs and 26 outputs, from three ADAT I/O pairs and co-axial S/PDIF I/O. Each ADAT channel supports 48kHz/24-bit operation, and S/MUX mode is also available to pair ADAT channels in order to provide 12 96kHz/24-bit channels instead. Like its predecessor, the HDSP 9652 also implements what RME refer to as 'ASIO zero CPU load' technology, meaning that you can have 52-channel operation without placing any burden on the host processor.

NUENDO AUDIOLINK 96 (2002)

http://www.soundonsound.com/sos/sep02/articles/audiolink.asp

The Nuendo Audiolink 96 system is no longer distributed by Steinberg since 2004. We recommend all users to get current drivers, tools and manuals directly from the hardware manufacturer RME-Audio. RME-Audio lists this card under the category "Hammerfall DSP" as "Digiface" and "Multiface".

motu 896

more info: http://www.soundonsound.com/sos/jul02/articles/motu896.asp
wordclock compatible


motu 1224

connects via 324 PCI card | can combine with the 2408 + other motu systems
driver download : http://cdn-data.motu.com/downloads/pci424/pci_os9.hqx
Contains audio drivers and application consoles for MOTU PCI-424/324 audio hardware, which includes the 2408 mk3, 24 I/O and HD192.Double-click installer and follow on-screen instructions.
wordclock compatible

Motu 2408 (feb 1999)


eight, 20-bit analogue inputs and outputs
article: http://www.soundonsound.com/sos/feb99/articles/motu2408.654.htm
wordclock compatible

Motu 2408 Mk2 (2000)

http://www.sonicstate.com/digital/model.cfm?modelID=1299&manid=57&manuf=57
The mkII version is no different from the original except that the analog in/out has been upgraded to 24bit on balanced TRS connectors.
wordclock compatible

Motu 2408 Mk3 (2003)
http://www.soundonsound.com/sos/oct03/articles/motu.htm


Sonorus StudI/O (1998)

http://www.soundonsound.com/sos/sep98/articles/sonorus.html

Alesis ADAT edit (1999)

an adat interface card for mac os 9.. comes with software made by emagic
article : http://www.soundonsound.com/sos/aug99/articles/alesisadat.htm
http://www.sweetwater.com/publications/sweetnotes/sn-latesummer99/page11.html
http://alesis.com/stuff/contentmgr/files/0/9d2b1fc3c579211a294dbd112724fbbe/file/adatedit_manual.pdf

 
tascam pci-822 (Word clock OUT only)

http://www.soundonsound.com/sos/may01/articles/tascampci_news.htm

The PCI-822 is a PCI-based interface card that includes everything you need to send digital audio and MIDI signals to your computer for recording and sequencing. It includes a TASCAM 8-channel TDIF interface for DTRS recorders and compatible equipment, a stereo S/PDIF interface for DAT recorders and CD players, and 32 channels of MIDI I/O for keyboards, synth modules and mixer automation. The PCI-822 supports 16-, 20- and 24-bit audio as well as 44.1 and 48kHz sampling rates. Plus, it includes Nemesys' GigaSampler LE so you can take advantage of powerful software-based digital sampling. The PCI-822 is also compatible with most digital audio and sequencing software applications, and can be installed to both Mac and PC computers. If you're using a TASCAM modular digital multitrack and want to get into the power of nonlinear hard disk recording and editing, the PCI-822 is the affordable, easy-to-use solution.

driver: http://tascam.com/content/downloads/products/298/PCI-822_Mac_Installer_v106.hqx
8-ch TDIF digital i/o S/PDIF, 2x2 MIDI, word clock

Lynx One (1998) (word clock out only)

http://www.lynxstudio.com/product_detail.asp?i=7
connects via pci | 6 in out | 2 midi i/o | word clock out
manual: http://www.lynxstudio.com/nav/getFile.asp?i=8&t=productfile

[DieHard]

As it is common knowledge that many inexpensive audio interfaces have cheaper clock chipsets, it may be less known that a "word Clock In" can be a very powerful tool.  There is a reason why RME stuff is more expensive than MOTU and that Apogee stuff is 4X the price of RME (the price of the A/D Converters and respective internal clocks directly correlate to the accuracy of the digital file created). 

For producers on a budget that have a lot of digital audio devices all interacting with each other or just want the best quality absolutely possible, then using 1 external master clock can help tremendously. I remember a being in a studio that was comparing tracks that were transferred from 24-track Studer reel to reel into a G4 using 3 different methods; Method 1 was to have (2) 1224s use their Motu Clock, Method 2 was the 1224s "word clock in" slave from a Apogee "Big Ben" master word clock and Method 3 was to have the 1224s "word clock in" slave from a Lucid genx192 master word clock.

So the results ? The tracks created letting the MOTU clock off the Big Ben or Lucid sounded far superior in Bass response and clarity to the tracks created with the same interface using it's own clock… so bottom line is that not all clocks are equal… Even though the different clocks are responsible to coordinate taking the same number samples per second, some clocks are more accurate of "when" during each slice of that second to take a sample.  The studio owner in charge of the test told me "it's like having 44 thousand soldiers, the cheaper clock represents them marching when they are drunk, and that is why the low end of the audio tracks sound smeared, while the more expensive clock represents them in peak performance in perfect step and the sonic clarity of the audio track is the end result"

So IMO at the level of most project studio interfaces the "Word Clock in" is by far more important then having a "Word Clock out" for those who need the next level, but cannot afford an Apogee or RME 24 track setup.  The Luicid genx192 was less than half the price of the Big ben (about $800) and to my ears it produced tracks that sounded the same (the four other engineers who were there shared the same opinion)

Now, if you are using a $99 PCI AudioPhile 2496… then ignore all of this.  When tracking one or 2 tracks at a time the quality will still be amazing.  Remember, in a low complexity studio setup with 24-Bit audio files and MIDI controlled VSTIs the results will still exceed what was available back in the day

[supernova777]

http://www.sweetwater.com/store/detail/SyncGen


What about 'budget' clock devices like this?

[Jakl]

Thanks Diehard for that experience.

[supernova777]

Now, if you are using a $99 PCI AudioPhile 2496… then ignore all of this.  When tracking one or 2 tracks at a time the quality will still be amazing.  Remember, in a low complexity studio setup with 24-Bit audio files and MIDI controlled VSTIs the results will still exceed what was available back in the day

so you really believe this one pci audiophile 2496 is miles above any of the other pci devices?
what about the mia midi? wouldnt the mia midi be on par if not better? what about the layla24?

[supernova777]

http://www.ebay.com/itm/SoundLink-DRS-168RC-Recording-Console-Multi-Channel-Audio-Interface-1212-Korg-/161356179287?pt=US_Pro_Audio_Multi_Track_Recorders&hash=item259193e757

what would u say about something like this Diehard... Korg 1212 pci with word clock + matching recording console also with word clock..
would the clock synch between the two devices make for better recordings then say a similar pci + console solution such as a delta 1010LT + a soundcraft mixer lets say?

[DieHard]

so you really believe this one pci audiophile 2496 is miles above any of the other pci devices?
what about the mia midi? wouldnt the mia midi be on par if not better? what about the layla24?

Chris,

I will try to answer all your questions...

what would u say about something like this Diehard... Korg 1212 pci with word clock + matching recording console also with word clock..
would the clock synch between the two devices make for better recordings then say a similar pci + console solution such as a delta 1010LT + a soundcraft mixer lets say?

1) Yes, I would say the Audiphile 2496 blows away some more expensive (multi-channel) interfaces since it is all in the chips... it uses the AsahiKASEI AK4528VF chipset (http://pdf.datasheetcatalog.com/datasheets/320/137041_DS.pdf) for both A/D and D/A (also used by the acclaimed RME Multiface 1 and Motu 2408 mk3). Remember the 2496 will only do 1 Analog stereo file at a time when recording, but is is absolutely top notch for $99 and both the MIDI and audio drivers are rock solid.

2) As far as the Korg 1212, it is capable of 20-bit recording (if you record in 24-bit, you are still using 20 bit hardware), not a 24-bit data width like the 2496 which is a substantial difference sonically; as a side note, IMO the 1212 always sounded like total shit on bass tracks (not sure of the A to D used for the stereo analog inputs stock with 1212 I/O card) and IMO it is just a few steps up from SB 5 in 1 sonic quality.  Maybe I am bias, but I  could always tell tracks done with the 1212... very thin sounding (maybe just the data path... maybe converters, maybe both).

3) No clock gonna help the 1212... 20 bit max... (kinda like a MOTU 2408)... that's it... no more

4) Delta 1010 uses AK5383 D/A AK4393 = Shitty bass tracks also

5) MiaMIDI - AK4528... Pretty much the same as the 2496 as far as audio quality.... but we can scratch MiaMID since it has the worst problematic drivers with all OS versions (just google).... and never works correctly.... so 2496 still stomps it the stability zone.

6) Layla/24 - AK4528... Well, definitely a great multichannel interface for the money (current eBay less than $200), but more echo software issues, they are NOT on top of their software like RME or M-Audio, but still a fairly solid recording system.  The only very small issue IMO is their Op amps are not as clean & crisp as the RME or better class stuff, but this only effects monitoring & mixing not the actual recorded tracks.

Last Note: for Multi tracking under OS 9... a used Multiface can be used on both a laptop (with buss card) and G4 tower (with PCI card) and results are stellar; ebay has been selling them for under $400 for complete setup (card and box)... but laya24 will be half the price if you can not afford the RME.

[supernova777]

but we can scratch MiaMID since it has the worst problematic drivers with all OS versions (just google).... and never works correctly.... so 2496 still stomps it the stability zone.

hmm thats a shame if this is true because, the miamidi is balanced connections which the 2496 is not i read? and also uses 1/4" connections
(and AP2496 uses RCA unbalanced analog i/o)

and apparentlty the mia midi has drivers for windows 7 too
https://www.facebook.com/EchoDigitalAudio/posts/262617923799590?stream_ref=5

so this driver is shit? --> http://files.echoaudio.com/drivers/mac/install_echo24_6.04.hqx


sure wish there were drivers for that audiophile 192
do u know which chip is used in that card? i think its the same as a ap2496 but OSX only but has dedicated monitor outs, balanced i/o + 1/4" connections

[DieHard]

Balanced vs unbalanced does mean anything if you are using a 3ft cable (like I use) to go from Mixer to Card (I use Monster); all sorts of issues with the MiaMIDI win 7 drivers under 64 bit

[Protools5LEGuy]

sure wish there were drivers for that audiophile 192
do u know which chip is used in that card? i think its the same as a ap2496 but OSX only but has dedicated monitor outs, balanced i/o + 1/4" connections

AP192 uses ENVY24 HT chipset while  AP2496 uses ENVY24.

Spoiler alert! Hackintosh info! Envy 24 soundcards works on Intel hacks (or magma chassis) with these drivers:

http://www.audio-evolution.com/drivers/  These guys are great...Have made these drivers and a stunning DAW...
http://www.audio-evolution.com/ For Android, Windows, AmigaOS4, AROS and MorphOS 

MorphOS is an alternative to OSX and more modern than OS9...
Radeon users here can use it...http://www.morphos-team.net/hardware
Another DAW and another OS for our PowerMACs!    I think we meet req. http://www.audio-evolution.com/index.php?option=com_content&view=article&id=10&Itemid=11

[supernova777]

spoiler alert! hackintosh infoz
lol

or u can just use a motu 324/424 and it works with the motu driver 100%:)

i wish we could use the ap192 in mac os9..


vs

http://www.soundonsound.com/sos/mar05/articles/maudiophile192.htm

much nicer to have dedicated 1/4" output for monitor/speakers + inputs
has anyone got this card?

i think this is an ideal card for a powermac g5 ..
other cards that include 1/4" connections include the mia midi, the rme 96/8 pad

[supernova777]

is the http://www.soundonsound.com/sos/sep03/articles/maudioaphile.htm as good exactly the same as the AP2496? this threads gone way offtopic;)

[DieHard]

According to Web… Audiophile 192
A/D AK5385A
D/A AK4358 (Think these are used in almost all of the older Presonus stuff)

Not as good as the 2496 D/A in theory

However…found this...

192 uses the VIA Envy24HT. The differences between these two chipsets are somewhat reflected in the names of their respective sound cards. The Envy24 will perform conversions at a maximum sample rate of 96,000Hz (96kHz) and a maximum sample depth of 24 bits. While the HT is capable of a 192,000 Hz sample rate with the same sample depth of 24-bits.

So still a much heated debate

[supernova777]

http://www.soundonsound.com/sos/jun10/articles/masterclocks.htm

heres a good article on using clock gens

[Syntho]

I'm going to go against the grain and say that an external clock won't necessarily get you a better sound than using the internal clock of your hardware. See this:

http://rhythminmind.net/1313/?p=2633

Regardless, I don't think converters have improved by leaps and bounds as some may have you believe. I've got some pretty old converters from the late 80s/early 90s that (to my ears) sound just as good as anything from the late 90s/early 2000s.

I also think preamp quality is blown way out of proportion too.

[supernova777]

that thought/question was definately in my mind too Syntho reviewing this information, only im not educated e nough to make a decision .. i think at a point in time either was diehard only hes had time to see different combinations and has drawn his conclusions....? having had more experience? eventually

but everytime i read someone elses opinions on what gear is good, and what gear is shit, i think to myself, that gear has slight differences that must be compensated for, if u really know your equipment and you learn how to eq based on that eequipment perhaps those differences, when familiar, could end up being an assett + not a detriment to the quality you acheive in your recordings in the end..  but alot of this is heresay because its a hard thing to compare 'recording quality' unless u are recording the same band at the same time with different equipment....

[Syntho]

I've heard any and every explanation/excuse/argument about preamp and converter quality out there, and if there's that much argumentation about it, it tells me the differences are very subtle. Preamps can be driven a bit and maybe hit a 'sweet spot', but most (even cheap Mackies!!!) do their job well: transparently amplify a signal as long as you don't slam it.

The interesting jitter rate tests posted in the link above - those are what my findings have been as far as slaving your gear to external clocks. What hasn't been taken into consideration is the difference in sound between converters with their own internal clocks at work (we usually use our ears for this test, but people suffer from being partial to particular gear/brands).... and if you look at the jitter rates of all of that gear in the link above when they're not slaved, they're so close in comparison that I just can't warrant an upgrade to something that's supposedly 'better'.

I'm just not hearing much of a difference (honestly, NONE!) and I get a lot of crap for that, but I've got to stick to my guns on this one.

[DieHard]

I'm going to go against the grain and say that an external clock won't necessarily get you a better sound than using the internal clock of your hardware.

Dear Syntho,

When I was present for A/B comparing which was done under 3 setups of monitors (NS10m, Genelec
1037C, KRK VXT8, also a 4th playback system with small near fields (5" and a Sub) think they Audio-Technica... and the Master clock used was a Lucid GENx192 Ultra Low Jitter Studio Master Clock (mentioned it in another post);

At any rate... it was FAR from SUBTLE with the same converters used... like night and day... like with the stock clock, the tracks sounded like a cassette Porta-studio vs Tascam reel to reel (with DBX add-on)... well maybe not that extreme, but definitely a huge difference on low mids and Bass and also clarity (very noticeable even with untrained ears), . I would strongly suggest you try an audio interface with a BNC word clock in being clocked with a professional master clock... I really don't think you will use the word "subtle" anymore. 

People don't like to spend $800 to $1200 on a clock for No reason... and the clock companies are still in business; so one has to assume there is a reason for this.  I personally owned the Lucid... actually bought one for my own studio after being involved in the testing and I used it with a MOTU 24i for 3 years (sold it when I downsized)... for me to spend $535 (bough it from the Lucid rep. directly... street $799) means to my ears... it was worth the $

[Protools5LEGuy]

The interesting jitter rate tests posted in the link above - those are what my findings have been as far as slaving your gear to external clocks. What hasn't been taken into consideration is the difference in sound between converters with their own internal clocks at work (we usually use our ears for this test, but people suffer from being partial to particular gear/brands).... and if you look at the jitter rates of all of that gear in the link above when they're not slaved, they're so close in comparison that I just can't warrant an upgrade to something that's supposedly 'better'.

I'm just not hearing much of a difference (honestly, NONE!) and I get a lot of crap for that, but I've got to stick to my guns on this one.

 I was present for A/B comparing which was done under 3 setups of monitors (NS10m, Genelec
1037C, KRK VXT8, also a 4th playback system with small near fields (5" and a Sub) think they Audio-Technica... and the Master clock used was a Lucid GENx192 Ultra Low Jitter Studio Master Clock (mentioned it in another post);

At any rate... it was FAR from SUBTLE with the same converters used... like night and day... like with the stock clock, the tracks sounded like a cassette Porta-studio vs Tascam reel to reel (with DBX add-on)... well maybe not that extreme, but definitely a huge difference on low mids and Bass and also clarity (very noticeable even with untrained ears), . I would strongly suggest you try an audio interface with a BNC word clock in being clocked with a professional master clock... I really don't think you will use the word "subtle" anymore. 

Maybe not all ears are trained so far... And not all monitor systems/environment shows clinical tests. No offense taken. Even REAL professionals in Spain has to ask to other "ears" if a system really benefits from using X or Y clock. A Digidesign 96 I/O sounds better with the wordclock from a MOTU 828 mk2 than with the internal clock. It was necesary 60 minutes of test to 3 PROs in recording/mixing/mastering to declare that. In a studio with meyer monitors, machine room and silent air conditioner.

[Syn-Fi]

Somewhat elusive but the Lexicon Core 32 system had BNC. It works in OS9 but you don't get to use the reverb standalone and have to use it through DAW software