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Antelope Audio Goliath

24-bit/192kHz Thunderbolt/USB2 lydkort med 64 inn/ut og dsp kraft

Antelope Audio Goliath
Varenr.: 110541
Lagerstatus: På lager
kr 42 315 inkl. mva. kr 33 852 eks. mva.
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Step Up to a World-class Interface
Antelope Audio's flagship Goliath Thunderbolt/USB/MADI multichannel studio interface is a beast. Designed to be a complete interface for modern studios and live rigs, Goliath is packed with cutting-edge features and generous connectivity. Equipped with 16 mic preamps and 36 x 32 analog I/O, Goliath gives you the flexibility of multiple digital formats (AES, MADI, S/PDIF, and ADAT), four line/instrument inputs, two headphone outputs, two ReAmp outs, and stereo monitor outputs. Goliath also handles up to 64 channels of audio over Thunderbolt - ideal for mating with an Orion32 via MADI.

Great-sounding onboard DSP and ReAmp outputs
Under the hood, Goliath is spec'd with onboard DSP that includes Antelope's superb guitar amp and cabinet simulations, along with new Vintage EQ and compression models. This arrangement works in tandem with the two front-panel ReAmp outputs, which are logically situated next to four guitar/instrument inputs.

Massive functionality, stellar audio quality
Combining massive functionality and stellar audio quality, Goliath is an ideal choice for your studio or live recording rig. Antelope's 64-bit Acoustically Focused Clocking (AFC) jitter-management technology, found in top mastering facilities worldwide, delivers the most analog-sounding audio conversion we've heard. You can control the Goliath remotely from any computer on the same network, or via iOS/Android tablet/phone apps.

Weapons-grade build quality
As with all Antelope gear, the company's usual weapons-grade build quality is evident throughout Goliath's sexy rackmount chassis, and everything is arranged cleanly and intuitively. There is a zen-like balance to the design. Goliath's informative high-tech touchscreen display, for example, is nicely complemented with a sizable, high-touch volume knob.


  • 36 analog inputs; 32 analog outputs
  • 16 mic preamps
  • 64-bit Acoustically Focused Crystal Clocking
  • Touchscreen display
  • Talkback
  • 16 AES ins/outs
  • 2 MADI ins/outs
  • 2 ADAT ins/outs
  • S/PDIF I/O
  • Onboard DSP effects and amp/cab simulations
  • 2 Headphone outputs
  • 2 ReAmp outputs
  • Thunderbolt/USB connectivity
  • Remote apps for Mac and PC

Goliath Thunderbolt ™, USB and MADI Audio Interface
Goliath is our most powerful audio interface with 16 Mic Pres, extended analog and digital connectivity, and an array of integrated hardware-based FPGA effects. Extremely flexible hybrid interface, featuring Antelope Audio's most iconic clocking and AD/DA technologies.


  • 16 Mic Pres
    16 Class-A Mic preamps. Hi-Z, Mic & Line ins
  • Zero Latency
    Custom ThunderboltTM & USB. Simultaneous 64 channels I/O streaming, multiple mixers and effects processing
  • Pro Guitar Effects
    Zero latency hardware-based FPGA FX for next level guitar amp modeling.
  • Pristine AD/DA
    24-bit, 192 kHz audio. Antelope Audio's signature transparent AD/DA conversion
  • 64-bit Acoustically Focused Clocking
    4th Generation Antelope Audio jitter management technology
  • Convenient Control
    Control Goliath via its intuitive desktop and mobile apps, touch screen or front panel. Advanced Remote Apps

Thunderbolttm , USB and MADI Audio Interface with 16 Mic Pres
Antelope Audio has packed more than 20 years’ experience in digital audio, clocking and analog circuit development into an impressive, amazing-sounding and versatile, professional audio interface – Goliath. The blazing-fast Thunderbolttm , USB, and MADI I/O houses a total of 36 analog ins and 32 analog outs, including 16-Channels of Class-A Mic Preamps with pristine and transparent AD/DA, all powered by Antelope’s renowned clocking technology.

Expansive Connectivity
64 channels via Thunderbolttm can be routed to a vast selection of digital and Analog I/O options, including MADI, AES, ADAT, and S/PDIF for digital signals. There are 36 Analog Inputs and 32 Analog Outputs with stunning pristine AD/DA converters. These include 4 superb Instrument DI’s, 2 transformer Reamp Outs, 2 Headphone Outs with integrated Talkback on the front, and 16-Channels of Class-A Mic Preamps, 2 sets of Stereo Inserts and a pair of mastering grade Monitor Outs on the back. The DB25 connectors feature 24 Outputs (1-8 can be level controlled for Surround Sound Mixing) and 16 additional Line Inputs, making Goliath an attractive solution for Hardware Inserts and Summing. Even more Analog I/O Channels can be added by connecting Antelope’s own Orion32 or Orion32+ using MADI, for a full 64 Channels of Analog I/O simultaneously.

Custom DSP & Guitar FX
Goliath employs Antelope’s powerfully fast FPGA-based DSP engine, able to process four zero latency mixers with custom effects, like the stunning new AuraVerb reverb and several new modern and vintage hardware EQ and compressor models. Antelope’s new RealModel technology create the most accurate modeling yet of the actual components to vividly create the true sound of classic analog gear. Stacks of FX can then be combined to build custom FX Chains and saved as Presets inside the AFX engine. Guitar Players will love this new FX approach when combined with Antelope’s new partnership with Overloud Audio Tools’ amp modeling, which also comes preloaded with Goliath.

Great Clocking = Great Sound
Goliath’s precise clocking is run by antelope’s proprietary 4th generation of acoustically focused clocking (afc) jitter management algorithm and oven-controlled crystal oscillator, as featured in antelope’s best crystal-based master clocks. For optimum detail and sound stage, Goliath can be additionally synced to the extremely accurate Rubidium Atomic Clock – 10MX. It can be used as a master clock for two other products via the two Word Clock Outs on BNC.

Speed Changes Everything
Antelope’s record setting Thunderbolttm speeds, combined with real-time FPGA mixers and FX mark an end to the need for offline DSP to enhance the power of a modern DAW on today’s computers. Antelope interfaces make use of real-time DSP for specific tasks, such as monitor mixing with reverb, tracking through accurately modeled EQ and Compression, as well as exceptional guitar amp models from highly regarded Overloud Audio Tools. Antelope’s custom Thunderbolttm circuit enables users to route to external hardware gear in near real-time or route recorded guitars or other audio out of antelope reamp outputs to external pedals or other instrument processors. Monitoring the results is so fast, a guitar player could even play live through the chain without feeling any lag from the excessive latency of standard buffering, usually associated with external DSP solutions.

Hardware-based Audio Effects

Massive hardware modeling capabilities
Already leaders in the field of digital audio clocking Antelope Audio is now on a mission to revolutionize the world of digital audio interfaces. Our custom Field Programmable Gate Array (FPGA) not only guarantees the lowest sound latency on the market when creating and streaming multiple mixes, but provides our devices with massive hardware modeling capabilities. 

Forget about expensive DSP effects
They often sound flat and soulless and can be quite a pain to your computer.
Our FPGA effects bring audio realism to a new level. They sound, behave and feel just like real hardware gear, because they ARE real hardware gear. Orion Studio, Orion 32+, Zen Tour and Goliath – all our latest audio interfaces – feature this new breed of powerful hardware-based audio effects. These include vintage and contemporary guitar amp & cab simulations developed in collaboration with Overloud, plus Antelope’s very own enhanced versions of legendary studio gear.

EQ Legends

The NEU-W492 is based on the inimitable circuitry design of the original, carrying its signature German sound. As a favorite mastering tool of generations of record producers and sound engineers, the unit features a 4-band EQ with bypass available for each band or the entire unit. Versatile and simple to use, the NEU-W492 is particularly powerful in the midrange, delivering a warm analog sound character.

The NEU-W495 meantime, is based on the original mixer strip designed for mastering consoles. From a sonic perspective, the NEU-W495 is able to fatten bass much like an analog EQ, and in ways that are not possible with typical software plug-ins. The NEU-W495 is also highly effective in smoothing out mid and high frequencies. Everybody needs more of that German analog precision in their sound.

VEQ-4K Series
Having imparted its sound signature on generations of artists and hit recordings for more than 50 years, the VEQ-4K SERIES are based on a rock-solid analog design — now coming to life in Antelope’s FPGA FX modules. Antelope’s VEQ-4K is complete with four different colored hardware-original revisions, each delivering its own unique sound shaping characteristics.

VEQ-4K Black
Likely the most popular version of the EQ module, this unit was designed following the recommendations of many of the world’s top engineers. The ‘original black’ features a louder EQ with +-18dB cut/boost and a steeper High Pass cut off slope (18db).

VEQ-4k Brown
The first model in this legendary line of EQ modules, it remains a classic and still in use by many engineers. It has 4 bands with a sweepable mid Q. The HF and LF can be switched to Bell/Shelf modes altering with the degree of boost/cut by +/- 15db.

VEQ-4K Pink
Originally appearing in the late 80s and with proportional gain settings, the VEQ-4K features shelving HF & LF EQs with a signature combo of dip and bump right before the shelf boost and cut. The Pink module has a wider frequency range with the boost/cut and gain range above +/- 20dB.

VEQ-4K Orange
A variation on the VEQ-4k Brown, which’s still a huge thing in Japan. Very close as sound to a Pultec EQ and with controls simulating valve EQ curves. This one is not just one more module strip revision, but a hardware rarity with a sound of its own.

VEQ – 1A
You’re surely into studio legends if you’re reading this so let’s take you back 60 years ago when a tube legend was born to become a part of every pro studio in the world. VEQ – 1A is not only breathing a new life into a classic, but sounds as thick as the real piece and it does hide quite a few tricks. For example simultaneous cut and boost of the same frequency, which gives the sound a unique quality you can’t really get with another EQ. Massive bass, gentle highs and richness – these knobs surely do some analog magic.

But what’s proper low and high end with no guts in the mids? VMEQ-5 is this range’s best friend. Two peak bands and a dip one are all you need to give your vocals, synth, guitar leads or snare drum the analog punch they’ve always needed. This little beast can also clean up a murky midrange like a boss.

Your hands are surely already itching to try all these out, but not before we tell you about the parametric VEQ-55A. Having issues getting your bass guitar sound edgy enough? Need some meat in your drums or maybe some body in the guitars? Problem solved, VEQ-55 will emphasize all tiny details your mix has been missing. All that, which has been causing troubles will be gently cut.

BAE 1073
Born in the 70s this channel module has been surely used on all your favorite records. BAE 1073 can handle it all – from classical music to TV pop, badass hip-hop and rock. Inspired by the hardware original we made sure this tiny beast can give your sound that very specific analog punch, which top producers have been cashing in on for decades now.

Pultec’s simple and effective filter features two knobs: one each for passive low-cut and high-cut filters at carefully selected frequency intervals. With 10 frequency selections available per band, it is the perfect tool for creating space in your mix by eliminating unneeded frequencies at the extremes of the audio spectrum — while ensuring a musical analog tone.

Helios 69
Modeled on a classic British console EQ used in recordings by well-known artists of the 60s and 70s ranging from The Beatles to Led Zeppelin, the Helios 69 adds astonishing analog detail to your audio it allows Antelope Audio users to achieve depth and texture formerly the sole territory of standalone hardware. The bass band is a stepped 50 Hz shelf filter or frequency selectable peak EQ, the treble band is a fixed 10 kHz shelf EQ, and the mid section sports a frequency-selectable peak or notch EQ with 8 frequencies available. The control panel is rounded out with a level knob, EQ bypass, and phase reverse button. This EQ is notable for its ability to preserve transparency while adding space and presence, and Antelope Audio’s model of this highly coveted circuit delivers unprecedented authenticity.

The NEU-PEV EQ is modeled on a rare German passive equalizer designed in the 60s. Its simple interface belies the complex tonal possibilities achievable with its four main knobs. A low shelving filter is fixed at 60Hz and can apply a boost or cut. The “Presence” section offers up to 8 dB of boost for one of 7 selectable frequencies between 700 Hz and 5.6 kHz, while a 10kHz high shelf allows boost or cut at the top end of the frequency spectrum. An on-off switch and output gain control provide users with even more utility. Notable for its warmth and spacious midrange, the NEU-PEV makes some of the most compelling sounds of both yesterday and today achievable without a massive rack of aging vintage gear.

Lang PEQ2
The PEQ2 is a solid-state parametric EQ model based on a vintage EQ from the 1960s. Featuring controls similar to the VEQ-1A tube EQ (already available in Vintage Pack 2.0), the PEQ2 really stands apart from the pack thanks to its frequency control, allowing users to set different and separate LF boost and LF cut frequencies. The PEQ2 provides plenty of width in the midrange while retaining tightness on the high end and low end and its high end bands excel at giving tracks that extra shine, making it an all-star on vocals and drum overheads.

integrated EQ
Antelope Audio’s integrated EQ offers 5 fully parametric bands, two of those can work in filter or shelving mode the three in the middle can cut or boost selected frequency ranges.
Our users have been using this simply designed yet perfectly sounding plug-in for both tracking in mixing, because it simply provides all that you might need in an EQ.

Vintage Compressors

FET-based compression has been a staple in the studio since its invention in the late 60s. The Antelope FET-A76 captures all of the nuances of a vintage FET compressor, and like its analog progenitor, is useful not only for controlling dynamics and sculpting tone but also for its ability to add punch and presence to anything passing through its circuit.

Mirroring the original hardware’s easy-to-use interface, the FET-A76 features Input and Output gain controls and a selectable 4-way ratio control with hidden “all-buttons” mode for a more aggressive compression character.
The FET-A76 shines in a wide range of applications, from vocals to bass guitar to buss compression, and is a powerful companion to Antelope Audio’s already-available FPGA EQ models, including the recently released BAE Audio 1073.

Antelope FeedForward Compressor
The Antelope FeedForward Compressor is featured in all our interfaces. It comes with all necessary Threshold, Ratio, Attack and Release knobs and allows Knee control. The Detector drop-down menu offers several Peak / RMS sense modes to choose from. It’s a small machine, but it gets the job done just right while sounding quite like a real hardware compressor.

The Guitar Classics

Burnsphere (DE)
Burnsphere (DE) is a modern amp especially suited for fans of meaty, bottom-end guitar sounds — but with an incomparable punch to make your solos and power chords sound tight and massive. This amp can handle high gain, modern metal sounds with the same precision as ringing and clean guitars. In both blends, you will not be missing presence, power or punch.

With Burnsphere’s Gain, Bass, Middle, Treble, Presence and Master Volume controls, you’ll be able to achieve your own signature, low-end and low-mid sound — whether you are playing ballsy rock ‘n’ roll, noisy jazz, or heavy metal. Two additional switches for Normal/Bright and Bottom make it a piece of cake to craft crispy cleans or heavily distorted blends with Burnsphere’s own ‘black magic’ drive.

Finally, the louder you play, the better this amp will sound! But rest assured, you can still achieve a pristine sound at lower levels. The name of the game with Burnsphere is to experiment and find your own voice, as we made sure this amp can adapt to any guitar-oriented genre and deliver its own style — how you play it is up to you!

Marcus II (US)
With its sensitive lead channel and improved reverb circuit, Marcus II (US) was designed to honor the sound of one of the most expensive and sought after guitar amps of the 80s. Now, your wallet doesn’t have to bleed to access this vintage legend since its authentic sound is perfectly recreated thanks to Antelope’s proprietary and revolutionary FPGA chip.

Marcus II (US) is one of the loudest and most sensitive amps you will ever encounter. This amp promises to capture all the dynamics of your guitar playing, and sparkle like no other. The transistor EQ adds a slightly different touch to the all analog tone of the Marcus II (US) and is quite versatile thanks to a set of simple but effective controls. Looking for a Fender inspired tone? Just cut the mids on the EQ. Want to go for a thicker and not too bassy Marshall-like sound? Try giving the mids a boost.

When it comes to prog rock or metal the Marcus II (US) is your top choice, It can represent the complexity of your playing, as well as the unique detail in your tone. Need a clean rhythm guitar tone or do you want to craft a memorable lead guitar sound with no mud in the low end? The Marcus II (US) is your amp!

Overange 120 (UK)
Designed after an amp that was built to be most effective when played loud as Hell, we made sure that Overange 120 (UK) hit the mark. Characteristically hard to tame, raw and old school, Overange 120 (UK) is choc with overdriven textures you simply won’t hear in other amplifiers. Maybe that’s why this one has been around since the early 70s.

It is easy for you to find your sweet spot with Overange 120 (UK) if you get to know its parameters. On lower volume levels, you won’t be able to attain its signature primal rock sound, but it’s cleaner and quieter sound will be be a pleasant surprise for the warm tones required for jazz, country or blues tunes.

We managed to achieve a unique versatility in an amp, while instilling subtle modern touches and welcome revisions. Yes, it still carries that flagship British tone, but this tone can now fit into a plethora of genres thanks to the advanced controls and functionality of Overange 120 (UK).

With Overange 120 (UK), you can go for a tone with a tight low-end, but also sound perfect when going for a more high-gain, rich and ultra overdriven blend. From early rock to thrash metal, the Overange 120 (UK) has you covered.

Tweed Deluxe
Tweed Deluxe is modelled after one of the most unique and sought after amps in the history of modern music. Introduced in the 50s, it’s loved both for retaining a clean tone at high volumes, and for his signature saturated tone when cranked. This is our take on one of the most special and historic amps ever built.

Found in the discographies of Neil Young, Billy Gibbons, Creedence Clearwater Revival and The Eagles, this little amp can turn from crystal and warm to wild and uncaged in the blink of an eye. Either way, it’ll sound like no other amp built in the past 60 years.
Playing on low volume will result in warm clean sound — but the louder you get, the more tasty the tube harmonics become, fattening your tone. Tweed Deluxe fits any genre from old-school blues, jailhouse country to wild rock and contemporary popular music. For an amp with a cab of that size, Tweed Deluxe has a very convincing low end —  accompanied by rich mids and precise highs.

The Tweed Deluxe has two main secrets: First are its simple controls, which consist of a Volume knob and the signature Tone knob. Using the two in combination, the possibilities are endless, and the limitations are only bound to your imagination. Another hint for mastering the Tweed Deluxe tone is honing the right choice of speakers. This will allow you to fine tune your blend depending on what your music or mix needs most – fatter lows, sparcer mids or more gold in the high-end.
One thing is certain, Tweed Deluxe just can’t sound bad.

Top30 is the choice for the followers of the so-called “British Invasion Sound”. This amp & cab produces a remarkably pure tone both if you like your guitar sound clean or overdriven. For over 60 years some of the world’s most loved and accomplished artists have been returning to this unique blend.

Top30‘s controls include Volume, Bass, Treble and Top Cut. We’ve added a 2×12” speakers cab for this gem, because that’s exactly what it needs to do its magic. 

Darkface is our tribute to the most classic amp of the 60s. If you have a heart for vintage rock, jazz, country or good old blues you’ll surely love this sound. Designed to preserve the natural tone of the guitar, even at high volumes, is what made this sound so popular. That’s what we went for when designing this. Just strum a chord through it and you’ll love it

Modern is what you pick when you want to unleash a crushing wall of guitar sound. Suitable for any metal sub genre, this all tube guitar amp simulation is your best choice when you need super heavy distortion, but also when your leads and solos need some help to shine in the mix. This contemporary classic sounds best through a wall of speakers so, its default cab features 4×12” ones. Those are here to help you feel the sound of your guitar as you’ve never done before.

Take a good look at Plexi 59, because this is the amp that created the true tone of classic rock. Antelope & Overloud poured their heart and soul into recreating the legendary voice of this warm and loud amp. Plexi 59 sounds bright and crunchy, with a lot of headroom – just like the hardware piece we love so much. Antelope’s powerful FPGA allowed us to achieve the signature tone of this late 50s, hand-wired tube legend with large transformers and high-plate voltages.
Pair it with two 12” OB Green speakers and your guitars will have a meaty thick bottom end and super smooth mids. When pushed hard Plexi 59 gets super loud, but never muddy. The amp that inspired our very own Plexi 59 is not just a standard in blues and rock music, but a bridge to the hard rock and heavy metal sound.

Rock 75 brings the true sound of one of the most beloved all-valve 100W amps in rock history. No reverb and no effects: just the pure raw rock tone, which has kept this amp in demand for over 40 years. Rock 75 is like the Plexi 59 on steroids. All the cranking his older brother couldn’t handle, is now possible. Forty years ago this amp gave guitarists not only more heat, but more control over the output level. Now, that legendary amp architecture is authentically recreated thanks to Antelope’s powerful custom FPGA.

We ensured that Rock 75 is as loud as the real hardware inspiration – the tube amp legend that quickly became a standard for all big stadium rock raves. Back it up with 4x 12” Vintage Speakers and your guitars will be roaring like a lion.

The 80s were marked by a worldwide hard rock and heavy metal explosion. For amp manufacturers that meant one thing – more gain. Rock 22.10 is FPGA-modeled after the amp, which handled this new sound the best. It achieved its savage and aggressive sound by having extra clipping diodes and its EQ was placed after the third gain stage. Antelope’s 22.10 features controls for Presence, Bass, Middle and Treble plus Master and Pre-Amp Volume for even more detailed Gain control.
Even though you’ve heard the sound of Rock 22.10 in your favorite heavy metal albums, that amp actually offers a pretty wider choice of sound. Yes, it’s mostly edgy and aggressive, but if you’re on the lookout for achieving more abrasive indie tone, it will surely serve that purpose as well.

AuraVerb - New Reverb Leveraging Unique Algorithms and Proprietary DSP Chip for ‘Smooth and Clear’ Sound
AuraVerb Includes 24 Custom Presets Designed by Five-Time GRAMMY Award Winner Brian Vibberts

Antelope Audio introduces AuraVerb, the professional audio company’s first reverb. The software-based reverb leverages Zen Studio’s powerful 64-bit DSP chip and features a unique algorithm designed by Antelope’s team of mathematicians, including company founder Igor Levin. AuraVerb is free for all current and future Zen Studio owners with a simple firmware update and is fully compatible with other upcoming Antelope Audio products.

AuraVerb provides color and richness using a simple new approach via a unique algorithm. The reverb features eight different controls including a ‘color’ parameter to create everything between darkened textures to a brighter, sizzling presence; and a ‘Richness’ parameter that controls the reverb density compared with the source audio, AuraVerb is capable of producing a wide range of authentic sonic landscapes.

Highlights of Antelope Audio’s new AuraVerb include:

  • New algorithmic reverb runs in real time on Antelope’s own DSP engine
  • 24 custom presets created by Brian Vibberts for various instruments and styles
  • ‘Color’ and ‘Richness’ parameters enable users to control different textures and densities
  • PreDelay can delay the onset of reverb by up to 150ms
  • Long and smooth decays feature no digital artifacts
  • Create your own savable presets and share with other AuraVerb users
  • Signals can also be routed from DAW software as a Hardware Insert

  • Analog Inputs

    16 x Line inputs on two D-SUB 25, +20 dBu max, 11.2 kOhms
    16 x Mic / Line universal inputs on XLR combos on the rear (first 4 can be used for instruments also)
    4 x Instrument (HiZ) inputs on TRS 1/4 jacks on front

  • Analog Inserts

    2 x Inserts on TRS 1/4 jacks (dedicated to rear universal inputs 1, 2)

  • Digital Inputs

    2 x Fiber Optic MADI (up to 64CH each)
    2 x ADAT (up to 16CH)
    8 x AES/EBU on D-SUB 25 (16CHs)
    1 x S/PDIF

  • Word Clock Input

    1 x Input @ 75 Ohms 3Vpp on BNC 32 – 192kHz

  • Atomic Clock Input

    1 x 10M Input @ 75 Ohms 1Vpp on BNC

  • Analog Outputs

    16 x Line outs on two D-SUB 25, +20dBu, 56 Ohms
    8 x Monitor outs on one D-SUB 25, +20dBu, 56 Ohms
    2 x Main Monitor outs on TRS 1/4 jacks
    2 x Stereo Headphone outs on TRS
    2 x ReAmp outs on TRS

  • Digital Outputs

    2 x Fiber Optic MADI
    2 x ADAT
    8 x AES/EBU on D-SUB 25 (16CHs)
    1 x S/PDIF

  • Word Clock Outputs

    2 x Outputs @ 75 Ohms 3Vpp on BNC 32 - 192kHz

  • Thunderbolt

    1 x Thunderbolt (64 channels I/O)

  • D/A Monitor Converter

    Main Monitor Dynamic Range: 127 dB; THD + N: -108 dB
    Dynamic Range: 118 dB; THD + N: -98 dB

  • D/A Converter

    Dynamic Range: 118 dB; THD + N: -98 dB

  • A/D Converter

    Dynamic Range: 120 dB; THD + N: -110 dB

  • Clocking System

    4th Generation Acoustically Focused Clocking
    64-bit DDS
    Oven Controlled Crystal Oscillator

  • Clocking Stability

    <+/-0.02 ppm, oven controlled at 64.5°C/ 148.1°F

  • Clock Aging

    < 1 ppm per year

  • Clock Calibration

    <+/-0.001 ppm

  • Sample Rates

    32, 44.1, 48, 88.2, 96, 176.4, 192 (kHz)

  • Operating Temperature


  • Weight

    6.8 kg/ 15 lbs approx

  • Dimensions (approx.)

    Width: 483mm /19”
    Height: 81mm / 3.2”
    Depth: 279mm / 11”

  • Power Supply

    AC Universal input ~95-245 V

  • Power Consumption

    40 Watts Max

  • Mic Pre

    Gain: 0, 10 – 65 dB
    THD + N: -108 dB

  • USB I/O

    1 x USB 2.0 Hi-Speed; Data stream up to 480 Mbits/192kHz, 32 channels I/O, Type B