— This is the hardest mix for a TV show I’ve seen; using the Eclipse/10M for monitoring and clocking my Protools HDX rig simplifies my job and gives me the greatest sound possible, mixing “in the box” —
I first had the opportunity to test Antelope clocks three years ago after meeting Igor Levin at the SATIS French audio/video event. I was immediately hooked by the audio benefits I got on a standard Protools HD with Digidesign converters: wider and deeper stereo image, lower audible distortion, improved response on transients. The next step was to buy a Zodiac+/ Voltikus bundle for home use to replace an Apogee miniDAC, then to listen to the Eclipse 384.
It was quite a revelation because of the accuracy and three-dimensional sound picture provided by this DAC. I’ve never heard such stereo width before and was equally impressed by its ability to reproduce faithfully the slightest volume change… It was love at first sight!
BIO: Toshiki Nakada
Born on 8th April 1961 in Tokyo, Toshima ward. After graduating from Aoyama University with a masters degree, he attended the MPI Training Institute for Music Producers and in 1985 started working at King Records. In 1988 he transferred to the show producing company Telecom Sounds where he started working on the new show J-Wave. In 1991 he began an independent career as a freelance director and music writer. He produced the 9 hour long special edition of the J-Wave show, In The Mood Of David Foster (1994) and contributed to more than 400 CD liner notes. In 1998 he started his own label “Cool Sound”. While focusing on the reappearance of AOR, he worked on more than 180 discs to be launched on the Japanese market (these numbers are accurate to the date this article was published).
Antelope Audio started 2015 on a high note, engaging its global customer base at two of the world’s most important trade fairs: The Consumer Electronics Show (CES) in Las Vegas and The NAMM Show just outside Los Angeles.
At CES, Antelope shared a demonstration suite with premier loudspeaker manufacturer Amphion, highlighting the latest full-production edition of Rubicon: the world’s most technologically advanced AD/DA clock/converter, featuring a rubidium atomic clock. Antelope also had its Zodiac Platinum + 10M converter / clocking combination on hand as well, providing a delectable aural treat for visitors.
— After many researches, I was told about a USB audio interface with 32 I/O for a very interesting price and a great sound, and that was what I was looking for —
I would definitely say that my workflow approach has changed a lot in the past two years. When I decided to move from Milan to Berlin, my intentions were to mainly carry on working with my clients in Italy. I still own a traditional recording studio in Milan, I use it almost every month, but after many years of work as a producer and mixing engineer, I began experimenting with different ways to do mixes.
In Berlin I started doing ‘online’ mixing, in the box, with my laptop, Pro Tools 11 and several plug ins. After more than a year, I realized that I wanted to finalize my mixes in different studios, to add ‘colour’ to tracks. I was missing the feeling of touching knobs and faders, and the mixes sounded too flat for my taste. Anyway, ‘ITB’ working has the big advantage to let you recall mixes instantly, and most of all, you’re no longer forced to complete the job in one day or two. Now that I’ve got more time to work, that possibility is very important for me. After many researches, I was told about a USB audio interface with 32 I/O for a very interesting price and a great sound, and that was what I was looking for – The Orion 32.
— Leman Music Masterclass chose Zen Studio Audio Interface for its recordings —
The Antelope Audio professional portable audio interface Zen Studio was used for recording the Leman Music Masterclass at the Conservatoire de Musique de Geneve. “Because of its portability, digitally controlled preamps and links for the stereo pairs, it was the obvious choice,” said the audio engineer David Trotti. The pristine quality of the resulting audio blew away Trotti and made the day of this yearly event.
Next, ACR’s Zen Studio teamed up with its ORION 32 brother for a redundancy recording at Geneva’s Victoria Hall of “Camerata Armin Jordan” with 112 musicians from the Orchestre de la Suisse Romande.
— Take a look at the comparisons between the evolving technologies of DSD and PCM and how they have been implemented in the Zodiac Platinum —
Direct Stream Digital
Direct-Stream Digital (DSD) is an audio format developed by Sony and Philips for the Super Audio CD system (based on ideas initially described in a 1954 patent). The technology was then later developed by Playback Designs and pioneered the transfer of DSD files over USB connections.
PCM is usually 16-bit to 24-bit (CD standard is 16-bit and 44.1kHz) whereas DSD is commonly 1-bit or in some cases 8-bit and has a sampling rate of 2.8224MHz. The output from a DSD recorder alternates between levels representing ‘on’ and ‘off’ states, and is a binary signal (called a bitstream).
To minimize quantization errors during the ADC process, the DSD format utilizes noise shaping algorithms (filters), which allow shifting of the quantization distortion up to ultrasonic values, frequencies far outside the human range of hearing. DSD bitstreaming allows the SACD players to be made with a simple 1-bit design and using a low-order analog filter during the DAC process. Although the SACD format achieves a dynamic range of 120dB for all frequencies in the range of human hearing (20Hz to 20kHz) and provides an extended frequency response up to 100kHz, most players in the market offer a maximum of 80-90kHz.