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DAR Sabre Hard Disk Workstation (part 1)


DAR introduce a lower cost digital editor using an optical disk rather than
the more usual magnetic hard disk. David Mellor considers its potential.

As technology continues along its never-ending quest for perfection, equipment
tends to get faster, smaller and less expensive. We still don’t have a
Rolls Royce that costs less than a grand, cruises at 200 mph and fits into a
briefcase, but perhaps that’s not quite what potential customers are looking
for at the moment. Potential customers of hard disk recording systems are, however,
looking for all of these qualities. I might say that they are looking for increased
reliability of recording and playback as well since in my experience hard disk
systems generally have an annoying tendency to click and mute infrequently but
more or less at random. Perhaps that’s because I tend to see systems soon
after, or even before, their official release. Still, it doesn’t hurt to
mention, where manufacturers will be reading, that reliability of playback is
immensely important to users and that any manufacturer who can claim zero click/zero
mute performance will be onto a real winner.

I think we can take it for granted that DAR, whose thrust is right at the
top end of the hard disk market, will be striving hard for ZC/ZM (see above)
certification, and in fact the new Sabre functioned perfectly in my brief trial.
As a new device benefiting from recent advances in processor technology, Sabre
is indeed a smaller, cheaper and – amazingly enough – faster version of the
original SoundStation II. For its affordable price tag you get a 4U processing
unit with one or two optical disk drives, two channels of input (analogue, AES/EBU
or SPDIF), stylish control console, keyboard, mouse, monitor and one optical
disk with some sample material on it. You’ll also find cables and a manual
in the box. Perhaps the main difference between Sabre and SoundStation is that
once you have bought this package, then that’s the limit of your investment.
Other than some options for digital input and output and the choice of one or
two drives, what you saw at the demonstration is exactly what you will get and
there are few opportunities for expansion (see specification).

Obviously, Sabre is closely related to SoundStation. The main similarity is
in the screen and the keys on the console. Quite a number of the keys are the
same, if not entirely identical. The main difference is that SoundStation has
an integrated touch screen and gas plasma display, and since it is a self contained
unit DAR reckon it is a bit quicker to operate because instead of having to
move the mouse then select, touching the screen is a single action. Also, SoundStation
is a device with a large processing rack with hard disk storage upgradable from
four to sixteen channels. You may choose a Sigma model with DSP, you can add
up to sixteen hours had disk storage and an optical disk drive for archiving.
Sabre however doesn’t have a hard disk option, so the maximum reel length
is limited to 115 minutes single channel playback time if you have two optical
drives installed. In addition, SoundStation has the WordFit option and Sabre
doesn’t. Balancing the lack of upgrade opportunities, you will be pleased
to hear that Sabre is about half the price of an eight channel SoundStation.

David Mellor

Acoustics & Studio Design

Acoustics & Studio Design

The NLE AudioPedia series, our video-based audio encyclopedia, is an invaluable resource for sound engineers, musicians, students, educators and all audio enthusiasts. This second installment is about Acoustics & Studio Design.

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David Mellor