Inside Audio

• 64 in and 64 output channels
• Additional optical stereo output
• 24 bit / up to 192 kHz
• Hi-Speed USB
• Low-latency monitoring (FPGA Monitoring Mixer)
• Windows & Mac
• USB bus powered
• Made in Germany

• Low-latency monitoring
• Control room mixer plus 6 individual headphone mixers
• Intuitive and fast workflow
• 128 channel MADI stream metering
• Talkback
• Plus many game-changing features

• Super reliable direct to disc recording w/o DAW (on client computer)
• Automatic rec arming
• Remaining recording time display
• Automatic file naming

Audio Interface with Analog Monitoring

• 16 Inputs
• 6 Recording Channels (24Bit/192kHz)
• 2 High-Quality Discrete Mic Preamps
• 2 Instrument Inputs
• 4 Balanced Line Inputs
• Stereo Digital I/Os
• MIDI I/O
• 2 Stereo Speaker Outputs
• 2 Stereo Headphone Amplifier
• Phonitor Matrix (NEW)
• Talkback Mic (NEW)
• One Knob Monitor Mix
• Artist Mode
• Real-Time Analog Monitoring
• Play-along and monitoring also without DAW (stand-alone)
• Class 2.0 compliant for iOS device recording/monitoring
• 34V operational voltage for professional levels up to +22 dBu
• Pro level boost for consumer electronics
• Very low jitter due to FMCTM (Fixed-Master-Clock)
• No sample rate conversion or clock recovery for true 1:1 audio
• Hi-Speed USB

Earlier this year we saw Ferrofish update their 32-channel converter, the A32, with added Dante functionality. This significantly expanded a high-quality product with modern connectivity, enabling some new and interesting uses. Ferrofish are clearly capitalising on their new-found ability to offer AoIP technology and are set to demonstrate the Verto Series at this year’s  Musikmesse. At the same event, they will also release the Pulse16 converter, which appears to update their existing A16.

Synthax, the UK distributor for Ferrofish, have made these announcements with information available on their website. With Ferrofish’s own website lacking any information at present, it’s interesting to see the distributor being more pro-active than the manufacturer. Either way, these look like great additions to the growing Ferrofish brand. I’ve used the A32 none-Dante version recently, and I’m pleased to report a very ‘German-made’, ‘RME-style’ product. It even offers a very clean sound, which you would expect from a brand like RME. (No official links between these two brands are known.)

Synthax are claiming the Pulse16 will an addition to the Ferrofish product line, however, it appears to me this is simply an updated A16 MK-II. The Pulse16 is a 16-channel analogue to digital converter, which now offers 4 pairs of ADAT connections. This will provide “full 16 x 16 channel operation even in 96 kHz SMUX mode”. With the new A32 Dante and the Verto products below, I’m slightly surprised that they didn’t add Dante to this product too. Presumably this is for cost-saving measures and allows for system scaling.

Pricing is yet un-known, but will presumably become available at Musikmesse 2017. Check out the Synthax product webpage for more information.

Dante converters and expansion units are starting to surface regularly. Ferrofish are presenting 3 new boxes for this growing market, in what appears to be half 19″ rack units. Esentially there are two variants of ADAT to Dante converters and one MADI to Dante converter. These are called the Verto32, Verto64 and VertoMX respectively. Channel counts are as you’d expect on a typical 48kHz Dante network. These should prove to be useful and reliable options for expanding a Dante network.

It will be interesting to see what the prices of these units will be. There’s no analogue audio at play here, so the hope is these are cheap enough to become handy little boxes for any studio or live sound environment. Again, check out the Synthax webpage for more information including a table explaining channel counts vs. sampling frequency.

Buchla and Moog started it all with their modular synthesizers in the 1960s. Doepfer made it affordable in the 1990s by introducing the Eurorack standard. Today, Softube makes the Eurorack modular synthesizer truly accessible for everyone with the Modular plug-in.

Softube is proud to announce Modular: A new cross-platform modular synthesizer plug-in that looks, works and sounds exactly like its analog Eurorack counterparts.

Softube's award-winning modeling experts have collaborated closely with legendary inventor Dieter Doepfer and the top minds at Intellijel to create circuit emulations of existing hardware modules. The resulting plug-in modules have been authorized and approved by their respective owners, guaranteeing that Softube Modular gets you as close to the analog sound as you can get.

Both effect and instrument, Softube Modular is fun, limitless and easy to use. The basic system includes six Doepfer modules and 20+ utility modules, such as sequencer, mixer, delay and more, and a massive preset library will be included. Additional modules from Doepfer and Intellijel will be available as add-ons at launch (such as LPG, uFold II, Korgasmatron, Rubicon). More emulations from top hardware synthesizer brands will be released in the future.

Softube Modular is available from May 11 for $99. We are showing it at Musikmesse Frankfurt, booth D23 in hall 9.1. Watch a live demonstration or try it for yourself!

Pioneer says that you can take your creativity to another level in the booth, the studio and on stage with the TORAIZ SP-16 sampler and step sequencer. A spokesperson told us, "The tactile sampler features an intuitive touch screen and layout, 16 powerful sampler engines, analogue filters based on Dave Smith Instruments' Prophet-6 synthesiser and quantize via Pro DJ Link. And you can use it as a stand-alone unit – no need to take a laptop into the booth."

Here's more details in Pioneer's own words...

We've poured more than 20 years of electronic music industry experience into our first sampler to create a versatile sound machine. Load samples via USB or from the internal memory; then use the 16-step sequencer to create patterns, or playback loops or trigger one-shots with the multicoloured Performance Pads. And if you're connected to CDJs via Pro DJ Link, everything is synced to the beat of the master deck, so you can get creative with confidence.

We've partnered with the legendary synth creator Dave Smith to add his Prophet-6 analogue filters to the sampler, so you can give your creations a rich, analogue warmth and presence. Plus a touch strip gives you instinctive control of various parameters including pitch bending. The real-time processing engine means you can reliably manipulate the sound using time stretch, pitch bend and amp envelope.

The 7-inch full-colour touch screen puts you in complete control. Pick the Track Menu to see the full information about your sounds and their parameters – which you can manipulate using the six rotary dials just below the screen. The sampler comes with 2GB of samples already on board, courtesy of Loopmasters, so you can start creating bass lines and loops right out of the box.

Apogee Electronics has introduced a new member of their ONE audio interface family, ONE for Mac. They tell us that ONE for Mac is a 2 IN x 2 OUT USB Audio Interface/Microphone that is the most affordable all-in-one solution for writing, recording and mixing music on your Mac. Here's their full description of it...

The third generation in the Apogee ONE family, ONE for Mac features the same sound quality and essential functionality as the Apogee ONE for iPad & Mac. Now streamlined for Mac-only use, (it does not include iOS cable, power supply or battery operation), ONE for Mac is available at the more accessible price point of $249 USD - with an optional iOS connectivity kit sold separately. Whether you are a beginner or pro, you can use ONE with its built-in microphone, instrument and mic input and high quality output as the ultimate all-in-one tool for making professional recordings in your studio or on the go.

Apogee ONE is a music creation Swiss Army knife. Connect a microphone, guitar or use ONE's exceptional built-in omnidirectional microphone to easily capture your music without compromise. ONE even lets you record with a microphone (built-in or external) and guitar simultaneously. Using Apogee's industry-leading AD/DA conversion and mic preamp technology, ONE produces pristine music, podcast, and voice-over recordings while also delivering studio quality sound to your headphones for precision mixing or hi-fi listening. With an intuitive controller knob and seamless compatibility with Mac OS X, ONE is easy for anyone to use and works great with GarageBand, Logic Pro X, Pro Tools, Ableton or any Core Audio compatible application. 

Apogee ONE for Mac users have access to special offers on their choice of any world-class audio plugins from Waves. Simply purchase ONE for Mac from an authorized dealer and register to receive a discount code good for 25% off a single plugin or 35% off any Waves bundle plus an additional $100 voucher that can be used towards your next Waves plugin purchase. These offers can even be applied to any special deals from Waves, giving you the ability to save up to thousands of dollars. 

Highlights:

• 2 IN x 2 OUT Audio interface with built-in microphone
• USB 2.0 connection for Mac with 24-bit/96kHz AD/DA conversion
• Works with iOS -  iPhone and iPad connection kit sold separately
• Low latency and seamless compatibility Mac OS X
• 2 Analog Inputs:
• Built-in omnidirectional condenser microphone
• XLR microphone and 1/4" instrument connector on breakout cable
• 2 simultaneous inputs (instrument + built-in or external mic)
• Mic preamp with up to 62dB of gain
• 2 Analog Outputs:
• 1 1/8" stereo output for headphones or powered speakers
• Direct monitoring, complete input/output control with Apogee's Maestro software
• Compatible with GarageBand, Logic Pro X or any Core Audio Application
• Includes exclusive offers on Waves plugins (available upon registration)
• Die cast aluminum chassis
• Legendary Apogee sound quality
• Designed in California – Built in the U.S.A.

Pricing and Availability:
$249 USD

Nord tells us that the new Nord Drum 3 and super compact Nord Drum 3P combine stunning playability with unlimited sound design possibilities from the innovative Nord Drum 2. New features include Reverb and Delay effects, a simplified sound selection mode and new Sound Banks for quickly creating custom kits on the fly. Here's the details in the company's own words...

Features

• 6-channel Percussion Synthesizer
• Nord Drum 3P with intergrated multipad, kick pad input and MIDI 
• Nord Drum 3 with 6 generic trigger/drum pad inputs and MIDI
• Simplified user interface with easy sound selection 
• Advanced sound engine with Resonant Synthesis, Subtractive synthesis and FM-synthesis
• Reverb and Delay Effects 
• Drive, Crush and EQ-effects per channel
• MIDI in/out and full CC-control
• Stereo Output with improved output level 
• Headphone Output with improved output level

NORD DRUM 3P WITH INTEGRATED MULTIPAD 
Ultra compact new model Nord Drum 3P with integrated super responsive multipad and kick input. Weighing only 2 kg (4,4 lbs)! 

DELAY AND REVERB EFFECTS 
The great sounding global Stereo Reverb and Delay effects lets you add a whole new dimension to your drum sounds and the effect amount is easily adjusted for each drum channel.

SIMPLIFIED SOUND SELECTION AND NEW SOUND BANK 
The new Sound Select-feature lets you browse a wide selection of great sounding drums sounds, simply assigned to each pad individually. Easily replace toms, cymbals or kicks in seconds by selecting from our new preset library.

The new factory sound bank features 10 categories of great preset sounds that can be easily assigned to any of the six pads/channels - and is a great starting point in rehearsal situations when you need to find the right sounds in a matter of seconds.

The categories include Kicks, Snares, Toms, Claps, Cymbals, Hi-hats, Melodic, Effects, Materials and Synth.

BOSS is pleased to announce the RC-202 Loop Station, the newest addition to the BOSS lineup of live looping devices. The two-track RC-202 offers the look and tabletop interface style of the flagship RC-505 Loop Station, and features multi-effects, external control capabilities, and more. Compact and powerful, the RC-202 is well suited for club and electronica performers, beatboxers, and other looping musicians.

The RC-202 features two stereo loops with dedicated fingertip controls and dynamic status indicators. It also includes 64 phrase memories for storing and recalling live loop creations, organized in eight different banks for easy access while performing. Loops can be saved to the current phrase memory without ever stopping playback, allowing users to save and switch memories to perform advanced song structures and evolving arrangements.

Equipped with extensive multi-effects capabilities, the RC-202 offers more real-time processing than any other BOSS Loop Station. Four Input FX and four Track FX can be used simultaneously, and numerous effects types are available for loop creation and playback.

During loop recording, the sound can be enhanced with Input FX like P. Shift, Lo-Fi, Ring Mod, and more. Track FX such as Beat, Filter, Slicer, and others provide DJ and sampler effects for high-impact processing during playback. The effects can be quickly adjusted with large knobs, and turned on/off via dedicated panel buttons.

The RC-202 includes 17 onboard rhythms that can be used as backing for loop recording and jamming. The rhythm part can be directly routed to the rear-panel Phones jack to provide a dedicated click track for monitoring purposes.

The RC-202’s panel is equipped with numerous buttons and knobs for hands-on creative control while looping. There’s also a jack for connecting up to two footswitches or an expression pedal. Via MIDI, extensive control is possible from a MIDI foot controller or keyboard. MIDI also allows for synchronization with an RC-505 or a second RC-202, as well as drum machines and other devices.

Inputs include an XLR microphone jack with phantom power, mono/stereo instrument inputs, and a stereo mini-jack for connecting a smartphone or other device. All inputs can be used simultaneously to capture a variety of different sources into loops.

The RC-202’s USB port allows users to connect to a computer and import/export WAV audio phrases. This provides backup for loop recordings and the ability to load up RC-202 phrases with backing tracks and one-shot phrases. The RC-202 also functions as a USB audio/MIDI interface, making it easy integrate with music software for stage performing with a laptop, audio recording, MIDI sync, and more.

BOSS is also pleased to announce a Version 2.0 system update for the flagship RC-505 Loop Station. Free to RC-505 owners, the user-installable update offers many new features requested by top users. Simultaneous effects can now be used in the Input FX and Track FX sections, and the number of available effects types has been increased. Many useful performance and system functions have been added, and the real-time control capabilities have been greatly expanded as well.

TK Audio is announcing the release of their newest 500 series module, TK-lizer 500, which features all the power of TK’s flagship TK-lizer dual mono EQ, including the M/S functionality that has made it such a staple in studios all over the world.

A few minor additions include extending the cut/boost range to +/-8dB across forty-one discrete steps. The level control ranges from infinity to +6dB, also in forty-one discrete steps, and both the high and low bands can be switched from peak control to shelving duty.

“It’s been challenging to squeeze a dual mono EQ with sixteen rotary controls plus toggle switches into a dual slot 500 unit”, states TK Audio president Thomas Kristiansson. “The unique feature set, pristine sound and precise control make this an indispensable tool for tracking, mixing and mastering.”

TK-lizer 500 begin shipping in early June for 1,069.00 Euro (ex VAT)

With Zen Tour we are pushing the envelope once again. Antelope is offering not just a portable Thunderbolt& USB audio interface, but a pro piece, easily covering the needs of a small band. Zen Tour comes with 4 switchable Mic/Line inputs and 4 more HiZ/Line ins. Two reamp outs and a Talkback button on the front panel put it in the spotlight of portable interfaces.

Zen Tour borrows the powerful Field-Programmable Gate Array (FPGA)from Antelope Audio's top-selling pro studio devices. This game-changing technology provides the interface with massive parallel processing capabilities and the lowest latency levels on the market. In Zen Tour portability meets studio power like in no other device. No longer will portable interface stand for a starting point for your career, Antelope turned Zen Tour in a powerful tool for growing huge in the crazy music business!

The custom FPGA is a rock-solid platform for creating multiple, zero latency mixes and applying an exciting stack of effects. Forget about buying expensive plugins – Zen Tour offers something better. Get creative with Antelope's brand new hardware-based guitar amp & cab simulations, the classic Pultec EQ emulation and the extremely versatile AuraVerb reverb. The FPGA effects offer unbeatable authenticity and audio realism, comparable only to the sound and behavior of legendary hardware gear.

While other portable interfaces have to go for either a decent amount of I/O channels or high-end DSP effects Zen Tour gives you both! With the 4 switchable Mic/Line and 4 HiZ/Line ins now come 8 analog outs, digital I/O on ADAT & S/PDIF, two independent headphone amps and two separate pairs of monitor outs. The FPGA powered and custom USB make the device not only lightning fast but compatible with any DAW as well.

At this year’s Musikmesse, Antelope Audio [Booth #33D, Hall 9.1] is shaking up the world of professional interfaces with its new Goliath — a towering innovation with 36 analog inputs, 32 analog outputs, 16 Class-A microphone preamplifiers and Antelope’s renowned clocking technology: all packed within a 2U rack space unit featuring Thunderbolt, MADI and USB connectivity. Goliath offers two MADI ports with a total of 128 MADI channels or 64 channels per port.

The Goliath features custom built-in DSP effects and several modern and vintage hardware EQ and compressor models, bringing the ultimate in both features and usability to the most discriminating recording applications.

“Goliath represents a revolutionary turning-point in modern interface technology and is the culmination of years of research and engineering,” commented Igor Levin, founder and CEO of Antelope Audio. “Gone are the days of proprietary interface technologies that delivered inadequate performance and quality at an exorbitant price per channel. With Goliath, which features unmatched channel counts, flexibility and connectivity options, Antelope brings world class recording capabilities, inspiring creativity like never before.”

With 64 channels of Thunderbolt™ connectivity, a vast array of routing options and sophisticated software and DSP capabilities, users are able to exert more creative control over their recordings than ever before. In addition to its pristine, commercial-grade AD/DA converters, Goliath also features 4 superb instrument DIs and 2 transformer Reamp outputs on the front. The unit also features 24 line level outputs and 16 line inputs, all on DB25 connectors — making it ideal for tasks requiring hardware inputs or summing. Combined with this impressive feature set, the addition of 16 channels of Class-A microphone preamplifiers makes Goliath more flexible, capable and expressive than any other interface on the market.

First Rate Hardware-Based FX and Clocking Engines 
As with Antelope’s other new interfaces, Goliath employs Antelope’s powerful FPGA-based DSP engine, enabling it to process four zero-latency mixers with custom effects. These effects include the stunning new AuraVerb reverb, along with several other modern and vintage hardware, EQ and compressor models. Antelope’s RealModel technology helps create the most accurate modeling of components, creating an authentic sound experience of classic analog gear.

To ensure clocking stability and crystal clear performance, Goliath utilizes Antelope’s proprietary Acoustically Focused Clocking (AFC) jitter management algorithm and oven-controlled crystal oscillator — the same clocking technology used in top mastering studios around the world.

Intelligent, Hands-On Creative Control
With intelligent, tactile controls and a supremely intuitive software user interface, Goliath places full creative control and easy operation in the hands of the user. The physical unit includes dedicated knobs for mic pre gain and instrument inputs, as well as large, assignable knobs for stereo, surround, or headphone monitor outputs. There are also dedicated buttons for talkback, mono and mute, as well as a flexible ‘Antelope’ button.

Goliath’s included control software enables users to easily route any input to any output using a color-coded routing matrix, which also allows users to save up to five presets. Using the system’s iOS and Android compatible applications, users can easily go wireless — making it easy to stay in command of Goliath’s robust feature set at all times.

The Goliath will be shipping around the end of May, 2016 and will carry a price of $4,995/€4,900.

Universal Audio, a leading manufacturer of professional audio recording hardware and software, is proud to announce the new line of UAD-2 Satellite USB DSP Accelerators, shipping Q2 2016. UAD-2 Satellite USB DSP Accelerators are a sleek, powerful way for professional producers and engineers to supercharge their Windows-based workstations and run larger mixes filled with rich, DSP-intensive plug-ins. These desktop-friendly units provide full access to UAD Powered Plug-Ins, including exclusive plug-ins from Studer, Ampex, Lexicon, Neve, Manley, SSL, and more.

Available in QUAD or OCTO models with a choice of four or eight SHARC processors, UAD-2 Satellite USB DSP Accelerators can also be integrated alongside UAD-2 PCIe cards, UAD-2 Satellite FireWire, and the Apollo Twin USB desktop interface for unparalleled mixing power.

For an immediate out-of-the-box mixing experience, UAD-2 Satellite USB DSP Accelerators are available in Core, Custom, and Ultimate software packages. The Core package includes the Analog Classics Plus plug-in bundle, while Custom adds a choice of any three additional UAD plug-ins at registration. The Satellite USB OCTO Ultimate is UA’s flagship package, and includes more than 83 UA-developed plug-ins — up to and including UAD software v8.4.

At Musikmesse 2016, dbx by HARMAN is showing seven powerful additions to its popular 500 Series line of signal processing modules. Perfect for studio, live sound and mobile recording applications, the 500 Series modules and PowerRack 500 Series chassis are compact, portable and highly modular. They also offer excellent features, control, sound quality, and the highly sought-after warmth and usability of analog signal processing.

The new dbx 540 is a single-slot 500 Series tube microphone preamp that boasts pristine audio output, superior-quality high-end design at a value price. The dbx 540 features a Class A tube preamplifier, switchable phantom power and a super fast in-line optical compressor. The interchangeable 12AX7 preamp tube allows users to experiment with a variety of modern and vintage tubes for creating a customized sound.

The new dbx 565 is the ideal 500 Series dual-channel optical compressor for the discriminating user. The 565 features a dual-channel multi-frequency-band optical compressor, Linkwitz-Riley 4th-order (24dB/octave) crossover slope, Master level display with VU meter, Gain reduction LED, Independent compression, Attack and Release controls, and a Circuit bypass switch.

Finally, the new 555 5-band parametric EQ, the 570 High-Z input and the 590 Phase manipulator will join the current dbx 500 series line offering a full range of processing tools for recording and live sound.

Also new at Winter NAMM 2016, the new PowerBlock3 and PowerRack3 both feature power sources designed to house up to three 500 Series modules. The rear panel sports three slots of balanced XLR inputs and outputs along with three slots of unbalanced ¼-inch inputs and outputs. A 48V phantom power switch is located on the front of the rack for easy access. The chassis are designed to be fully compatible with the 500 Series format, but in two different compact orientations–horizontal and vertical, respectively.

“Our studio and live sound customers let us know they are delighted by the dbx 500 Series line,” said Peter Chaikin, Recording Solutions, HARMAN Professional. “With five new entries and two new chassis, dbx has an unparalleled stable of versatile and high-quality modules.”

The new LYD series is tailored for the creative at heart, whether you mix out of a small recording studio, an editing room, or a home studio. In these situations, the powerful LYD range reveals its prowess for low volume precision making it ideal for editing and mixing in whatever room you prefer and without breaking the sound barrier.
“We went back to the drawing board with LYD and looked at everything that made our monitors great in the past, but also at what we can achieve with the new platforms we have developed over recent years. In the end, we want to give all artists and engineers the best possible tool to help them achieve their best results – to redefine their music as we have redefined our monitors – and I believe LYD delivers exactly that” says Sebastian Rodens, Product Manager at Dynaudio PRO.
Since the formation of Dynaudio in 1977, craftsmanship has been an integral part of the brand’s legacy and while LYD is a redefinition of Dynaudio’s previous series of monitors, the company has not disowned this characterising trait. The 28 mm Soft Dome tweeter and the three, depending on the model, differently-sized MSP drive units used for LYD, are still handcrafted in the Danish factory near Skanderborg.

Each handmade drive unit is well-cared for: fuelled individually by state-of-the-art Bi-Amped Class-D amplifiers featuring 96kHz / 24-bit signal paths that make sure they have plenty of power to reproduce sound faithfully.
With their extensive research and know-how, Dynaudio wanted to offer choices and opportunities for musicians, producers, and artists; options that enabled them to mix and edit their music with precision. To do so an advanced DSP was included with two tuning modes for different setups, Sound Balance filters for tailoring the frequency response and Bass Extension for moving the bass cut-off to the preferred position.
Ole Jensen, VP of Sales – Professional Audio comments: “We are very excited to launch our new range of studio monitors. LYD introduces some of our latest developments such as a new amplifier design, in a new and refreshing colour scheme. When we revealed LYD to our sales channel, we got overwhelming feedback. Everyone at Dynaudio PRO is looking forward to bringing these great monitors to the market and launching them at Frankfurt Musikmesse is the first step.

You can see the range at our booth in HALL 9.1-A43 and listen for yourself.”

Product availability:
Late May/Early June

Technical specs and product details:
LYD-5
Freq. Response:         50 Hz – 22 kHz
Max. SPL (1m, pair):  106dB
Bass principle:            Bass Reflex
Crossover freq.:          5200 Hz
Tweeter28mm:           Soft dome
Woofer:                       5’’
Amplifier:                    HF 50W/LF 50W Class-D
I/O Connectors:          XLR Balanced/RCA Unbalanced
Dimensions (WxHxD): 170 x 260 x 211mm
Weight:                        5.7 kg
Pricing: UK/GBP £395 – EU/EURO €499 ERP each

LYD-7
Freq. Response:          45 Hz – 22 kHz
Max. SPL (1m, pair):   109dB
Bass principle:             Bass Reflex
Crossover freq.:           4300 Hz
Tweeter28mm:             Soft dome
Woofer:                         5’’
Amplifier:                      HF 50W/LF 50W Class-D
I/O Connectors:           XLR Balanced/RCA Unbalanced
Dimensions (WxHxD): 186 x 320 x 296mm
Weight:                         8 kg
Pricing: UK/GBP £475 – EU/EURO €599 ERP each

LYD-8
Freq. Response:         40 Hz – 22 kHz
Max. SPL (1m, pair):   112dB
Bass principle:             Bass Reflex
Crossover freq.:           3800 Hz
Tweeter:                       28mm Soft dome
Woofer:                        8’’
Amplifier:                      HF 50W/LF 80W Class-D
I/O Connectors:           XLR Balanced/RCA Unbalanced
Dimensions (WxHxD): 234 x 369 x 328 mm
Weight:                        10.2 kg
Pricing: UK/GBP £555 – EU/EURO €699 ERP each

Clocking and conversion expert Antelope Audio [Hall 9.1, Booth D33] announces the launch of its new LiveClock — a compact master clock based on Antelope’s ground breaking 4th generation Acoustically Focused Clocking (AFC) technology and designed for use in any live sound application. The new clock, the first of its kind in the industry, fits perfectly into a dog house on the FOH console, and takes up just 1U space with additional rack ears.

Antelope Audio, whose products such as the 10MX Atomic Clock and OCX HD Master Clock are the gold standard in commercial recording studios, mastering facilities and live touring applications, created LiveClock to meet increasing demand for an efficiently sized master clock, capable of vastly improving the sound quality of digital gear in a wide range of live performance environments. While LiveClock was created with live sound applications in mind, it is also perfect as a practical clocking solution for home and project studio use.

“The clocking technology present within many digital consoles and other live sound gear is often a weak link that adversely affects sound quality,” says Antelope Audio founder and CEO Igor Levin. “Many FOH engineers have already discovered that they can achieve sizable improvements in stereo image, detail, and sonic authenticity by using external clocking solutions. Now, with LiveClock, Antelope is offering live sound engineers the same clocking technology present in our OCX HD Master Clock and Isochrone Trinity, with a feature set perfectly suited to these kinds of applications.”

Small Footprint, Feature Rich
LiveClock supports up to 192 kHz sample rates, distributed via four Word Clock outputs on BNC and two pairs of AES/EBU and S/PDIF outputs. The unit allows simultaneous clocking of multiple devices, enabling synchronization of multiple components. The unit’s 10 MHz input allows users of Antelope Audio’s 10MX or 10M Atomic Clock to achieve even greater stability and sound quality. Meanwhile, LiveClock is simple to configure with its sleek touch interface, which also offers a convenient ‘Panel Lock’ function — this prevents accidental sample rate changes during a session or live show. All functions of the device are easily controlled via a cross-platform software control panel.

“Our master clocks are already popular in live sound rigs and their benefits are well-known, but many of our customers in that sector have sought a competitively priced, compact product specifically tailored to their use,” says Marcel James, Antelope Audio Director of U.S. Sales. “LiveClock meets this demand with Antelope Audio’s trademark analog-like sonic integrity in a pocket-sized, rackmountable package. Now live sound engineers can take crystal clear Antelope sound wherever their next job takes them.”

To experience LiveClock for yourself, please visit Antelope Audio at Musikmesse in Frankfurt [Hall 9.1, Booth D33]. LiveClock is scheduled to ship towards the end of April, 2016 and will carry a price of $995/€995