Antelope Audio Blog

Antelope Audio Appoints Audio Chocolate as a New Distributor for Australia

Antelope Audio — Wed, 15 May 2013 13:18:23 +0000

Santa Monica, CA, May 15, 2013 – Antelope Audio is pleased to announce the appointment of Audio Chocolate as its new distributor for Australia, for its entire range of products. Antelope looks forward to working closely with Audio Chocolate to support the existing user base and to substantially grow the brand going forward.

Audio Chocolate is a 14 year old distribution company of both Pro Audio and Audiophile product in Australia. The company supplies and supports audiophile, pro audio and turnkey solutions for home users, musicians, recording studio facilities, live, broadcast and education markets.

“We are delighted to welcome Audio Chocolate as our exclusive distributor for the territory of Australia for all of Antelope’s products, including our well-renowned high quality master clocks, AD/DA converters and DACs. Audio Chocolate’s expertise in Australia along with their comprehensive network of dealers across the country makes them the perfect partner for Antelope’s products,” says Marc Fenton, Antelope Audio Asia Pacific Sales Manager.

“Antelope Audio is highly respected in the audio industry worldwide. We are very pleased to be associated with Antelope to bring their unrivaled range of products to the Australian customers,” says Don Steele, Marketing and Analyst at Audio Chocolate.

Antelope Audio manufactures the highest quality digital audio equipment and is dedicated to ensuring people achieve high-definition sound both in the recording studio and home environment thanks to its proprietary 64-bit Acoustically Focused Clocking (AFC) and Oven Controlled Jitter management technologies. The company pioneered the adoption of Atomic clock generators in Audio Master Clocks and produces the Zodiac line of USB D/A converters (DACs) as well as the new Orion 32, a 32-channel AD/DA converter with USB, ADAT and MADI connectivity targeting both studio and live sound professionals.

“With the release of Orion32, our flagship high definition 32×32 channel AD/DA converter, Antelope sees the Australian market as one of the most important markets in the Asia Pacific region,” Marc added. “With continued high demand for Antelope’s master clocks, including the 10M atomic master reference, our range of Zodiac DACs and Orion 32, the appointment of Audio Chocolate will certainly be instrumental to our success in Australia.”

Mikkel Heimburger Forays Into High Profile Movie Trailer and Sound for Picture Projects with Antelope Audio Orion32

Antelope Audio — Fri, 10 May 2013 08:02:22 +0000

Santa Monica, CA, May 8, 2013 – Mikkel Heimburger is a sound for picture composer focusing primarily on movies, film and television commercials and advertising. During the last several years, he has successfully repurposed his audio career, having previously been an engineer/producer, focusing on the pop music scene. Recently, Heimburger has been working on several high profile projects. He placed a song in the latest Al Pacino film Stand Up Guys, and composed, performed and mixed the trailer score for the most recent Muppet Movie. Each day he relies on his Antelope Audio Orion³²audio interface as the cornerstone of his Los Angeles-based studio

.”I was a creator of dance, pop and urban music just a few years ago,” Heimburger says. “But now I am producing trailers and advertising segments that are diverse and creative, but also more lucrative.” Needless to say, he is working in a segment that has become increasingly competitive and saturated. Heimburger says that to stand apart, he must ensure that his productions are ‘as good as they can be.’ Therefore he depends on his Antelope Audio Orion32 to help set his music apart.

“The companies I am pitching to often receive dozens of tracks in a day — I want them to remember mine not only for writing and performance, but also for sonic quality,” he states. The Antelope Audio Orion32 is now a key component in his set up: “When I first heard it, I was blown away,” he says. “It has what many of today’s other converters are lacking – punch. I really need this for the trailers I am working on, and with the Orion32, it happens automatically — it is just there and I don’t have to adjust the EQ or manipulate the low end.”

For Heimburger, the main differentiator between the Orion32 and other well known high-end converters rests primarily on sonic quality. “I’ve been through a half a dozen audio interfaces during the last decade, just trying to keep up with technology changes in the market,” he says. “When I A/B’d the Orion32 against the other units I had from other manufacturers, suddenly they sounded way too thin and overly sibilant. I also noticed that many of these other converters introduce a ’3D effect’ that just wasn’t true.”

In addition to raising the overall sonic quality of his mixing rig, the Orion32 has introduced workflow efficiencies at cost savings that were unexpected, but most welcome. “The Orion32 is considerably less expensive than competitors’ models — you basically get a 32 channel interface for $3,000,” Heimburger observes. “Other models typically cost $3,000 for 8 channels, and don’t sound as good!”

Having access to no less than 32 tracks of Antelope Audio conversion at the output stage has enabled Heimburger to employ creative summing techniques, which he says has led to increased fidelity. “I am using every single output on the Orion32, and having all these channels means I can sum my mixes the way I want. I use the Orion32 in combination with my Shadow Hills Equinox, which is a 30 channel summing mixer. This combination has made a really big difference as far as the width and depth of my mixes are concerned,” he says.

All in all, the Orion32 has earned a place in Heimburger’s studio not only from a sonic perspective, but also feature and price. “In my opinion, the Orion32 wins hands down in every measure,” he concludes. “I am pretty sure the competition will need to rework their product strategies.”

Antelope Audio’s Orion32 Interface to Demonstrate New Features and Upgraded Capabilities at the Musikmesse in Frankfurt

Antelope Audio — Wed, 03 Apr 2013 12:52:34 +0000

Santa Monica, CA, April 3, 2013 – Antelope Audio’s Orion³² interface, the world’s first 32-channel AD/DA converter and audio master clock in a 1U rack, will be the company’s flagship at the upcoming Musikmesse in Frankfurt, April 10 – 13, 2013. Antelope team will demonstrate exclusively the new and upgraded features of the audio interface which had become a best-seller in only 3 months after its launch, at Hall 5.1, Stand C74.

The mixer, elegantly integrated within the control panel, provides extremely low latency mix and monitoring that can be distributed using the control panel, allowing it to be routed from any output of the Orion32. For example one can drag all 32 USB play channels to the “mix channels” and then the MIX L/R inputs to DAC 1 and 2, providing a stereo bus mix to DAC channels 1 and 2. The Zero Latency Mixer provides the basic functions of a real mixer such as: Solo, Mute, Pan, Volume Level controlled by faders and a Master Fader, so one can easily make a stereo mix.

Among the new features of the Orion³² is the ability to notify users on firmware updates directly from the control panel and automatic updating just with a click of the mouse. A news-feed on the bottom of the panel provides the users with links to recent, tutorial or demo videos, reviews and user cases meant to further help sound engineers discover the versatility of the interface.

“Updates from the control panel and other new features we are announcing will enhance our customer’s experience even further,” commented Marcel James, Director of Sales & Marketing, Antelope Audio. “With these and other new updates, the Orion32 packs a host of features never before seen on a pro audio device including its massive channel count per square inch and unmatched USB performance.”

The USB performance is further enhanced by the new driver for Mac, offering 32 channels In/Out at 96 kHz, much lower latency numbers and better stability even on higher sample rates like 192 kHz (up to 24 tracks).

Orion³² has already been highly evaluated and plays major part in studio and live rigs of top artists such as Rihanna, Skrillex and Beyonce as well as sound engineers like David Kahne.

Orion³²: Unmatched Audio Quality and Clocking in an Interface

The Orion³² allows 192 kHz I/O streaming of up to 32 channels through its custom-built USB chip, which provides seamless connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz (16 ch of 192 kHz) audio through its Fiber Optic MADI I/O connections, making it perfect for capturing audio in live sound environments and many other applications.

Orion³² is also an audio master clock, employing Antelope’s proprietary 4th generation of AFC and oven controlled oscillator — both technologies that made Antelope Audio clocks an industry leader for sound clarity and reliability in recording, mastering and post-production facilities around the world. The four word clock outs, together with the 10 MHz input, make Orion³² ideally suited to be in the center of any project or high-end studio.

Experience Real Mastering Files on a Mastering Quality Set-Up Brought to you by Amphion and Antelope Audio

Antelope Audio — Tue, 02 Apr 2013 14:57:26 +0000

Santa Monica, CA, April 2, 2013 – Amphion and Antelope Audio are co-exhibiting in room 117 at the National AV Days at the NH Conference Center Koningshof in Veldhoven, The Netherlands, April 6-7, 2013. The two brands will demonstrate a very reasonably priced mastering-quality set up easily fitting any larger or not so spacious room.

The visitors will be able to listen, and experience the clearly articulated pitch and the spectacular soundstage brought by Antelope Audio’s 384 kHz USB D/A converters. As a reminder of high fidelity´s original goal, the public will have the chance to listen to original studio masters, from the same speakers on which they were mastered. Amphion Two15 studio monitors, as well as all other Amphion loudspeakers, use the innovative waveguide technology and controlled dispersion, which allow speakers to work in all acoustic spaces.

Antelope Audio’s Integrity Line of D/A converters, is especially designed to suit the diverse demands of hi-fi enthusiasts, high-end audiophiles and professional sound engineers. Zodiac DACs’ unique transparency, openness, clarity and depth inspire multiple Grammy Award Winners and Nominees like Jim Anderson, Scott Hull, Howie Weinberg and Morten Lindberg to choose them as their favorite reference converters, both for their studios and their homes as well. Together with speakers like Amphion Two15 this allows you to hear the music just as the mastering engineer and musicians intended.

Zodiac DACs feature a plug-and-play custom design USB interface, allowing seamless connection with iPad, Mac, PC or just about any other digital media source, while supporting sample rate streaming of up to 384 kHz. The DACs also feature the renowned Antelope Audio 64-bit AFC technology and oven-controlled oscillator, which secured the company’s reputation as the clocking leader in the pro audio industry.

Amphion loudspeakers are designed to be in harmony both with the most demanding aesthetics and room acoustics. Thanks to their excellent dispersion characteristics, Amphion loudspeakers perform magnificently in challenging spaces, such as rooms with large windows and other hard, acoustically unfriendly surfaces. Amphion’s design embraces a natural midrange – traditionally a loudspeaker’s greatest challenge. Clarity and intelligibility come across crystal clear, even at low listening levels: for example as background and late night listening. Similarly, an even, wide dispersion permits the listener to experience a realistic and detailed sound while moving around the room, attending to chores or guests.

The ‘special guest’ of the event will be Rubicon – the CES Innovations 2013 Design and Engineering Award honoree and the world’s first 384 kHz digital audio preamplifier with integrated atomic clock. The Atomic AD/DA Preamp will be on display and people will be able to see up-close its retro-futurist silhouette and learn more about the benefits of the precise atomic clocking and Antelope’s proprietary jitter-management technologies. The audience will be introduced to the versatility of the Rubicon, offering AD/DA conversion up to 384 kHz; transformer-based, ultra-low noise, discrete JFET phono preamp; DLNA streaming and remote control capability; ultra linear, dual stage headphone amplification and the highest quality of digitizing and storing of analog records through the custom-built USB chip.

Visitors are welcomed to join Amphion and Antelope Audio at the National AV Days at the NH Conference Center Koningshof in Veldhoven, room 117, April 6-7, 2013.

Howie Weinberg Relies on Antelope Audio for “The Best Clocking and Conversion Money Can Buy”

Antelope Audio — Thu, 28 Mar 2013 13:38:54 +0000

Santa Monica, CA, March 28, 2013 – Following his 30 year career as head mastering engineer at Masterdisk, where he mastered The Ramones, The Red Hot Chili Peppers, U2, Public Enemy, The Smashing Pumpkins, Beastie Boys, Herbie Hancock, Nirvana and so many others, Howie Weinberg has established himself as one of the most in-demand mastering engineers in the world. His success led to him opening his own facility in 2011, appropriately named Howie Weinberg Mastering.

The new facility, located in the Laurel Canyon Hills of Los Angeles, features a selection of the best digital and analog gear available in the world. For his clocking and conversion needs, Weinberg depends on Antelope Audio’s rock solid Isochrone 10M|Trinity combination, in addition to Antelope’s Zodiac+ and Eclipse 384 digital audio converters (DACs).

Weinberg, who has just completed work on new releases by Metallica, Fiona Apple, Joe Walsh and others, clocks his entire room and DAW rig with an Antelope Isochrone 10M| Trinty combination, a set up which he refers to as “the Holy Grail of clocking.”

He says this combination makes an audible difference for both his clients in the studio as well as in the finished article: “When clients come in, I will play them what the music sounds like with the native clocking hardware in my DAW, and then with the Antelope. When I switch to the Antelope, their jaws drop every time.”

“The Antelope clocks are very accurate and as a result, make everything sound wider and cleaner,” he continues. “They provide much more depth and a sound that I can only describe as ’3D.’ To my ears, the difference is really audible.”

In addition to relying solely on Antelope’s renowned clocking technology, Weinberg favors the transparent sonic qualities of Antelope’s converters. “I use the Zodiac+ mastering DAC right out of my Pro Tools unit, and this is the first conversion,” he explains. “I like it because it doesn’t introduce any color. Honestly, I think it is the closest thing I’ve heard to the source on any converter.” Weinberg also appreciates the quick set up, seamless compatibility and I/O flexibility of the Zodiac: “I like it because it interfaces with my entire Pro Tools rig really easily. It also has five inputs so I can have a lot of sources on there — I can have everything set up on one box.”

For the recording of the final master, Howie incorporates the award-winning Eclipse 384, which is also the final monitoring DAC for playback to his array of high-end monitors. “I realized my weak link was A/D and D/A conversion and that’s why I upgraded to an all-Antelope setup.”

As technology in the studio seems to get more and more complicated, Weinberg likes to keep things focused with Antelope. “I’ve used a lot of different clocks, and am running a studio full of digital and analog gear,” he states. “There is so much digital stuff going on these days that your clocking has to be as accurate as possible. It just makes every piece of digital gear I have sound better.”

To ensure superior sonic results for his first rate client base, Weinberg has a ‘no compromise’ philosophy: “I have the best equipment money can buy, so I need the best clocking and conversion money can buy,” Weinberg concludes. “And I think I have it. You know what I’m sayin’?”

Amphion and Antelope Audio team up for the Bristol Show to demonstrate the most transparent, neutral and detailed home audio system

Radoslav S. — Tue, 12 Feb 2013 10:41:14 +0000

Santa Monica, CA, February 12, 2013 – Amphion and Antelope Audio are co-exhibiting in room 424 at the Sound & Vision Bristol Show in the United Kingdom, February 22 – 24, 2013. The two brands known for their neutral, yet musical and detailed sound are going to demonstrate a few different set ups, starting from mastering quality to easy-to-use desktop systems.

The visitors will have the chance to see for the first time in the UK the winner of the CES Innovations 2013 Design and Engineering Award, the world’s first 384 kHz digital audio preamplifier with integrated atomic clock – Rubicon. The Atomic AD/DA Preamp will be on display and people will be able to see up-close its retro-futurist silhouette and learn more about the benefits of the precise atomic clocking and Antelope’s proprietary jitter-management technologies. The audience will be introduced to the versatility of the Rubicon, offering AD/DA conversion up to 384 kHz; transformer-based, ultra-low noise, discrete JFET phono preamp; DLNA streaming and remote control capability; ultra linear, dual stage headphone amplification and the highest quality of digitizing and storing of analog records through the custom-built USB chip.

In addition to seeing the Rubicon, the visitors will be able to listen, and experience the clearly articulated pitch and the spectacular soundstage brought by Antelope Audio’s 384 kHz USB D/A converters. As a reminder of high fidelity´s original goal, the public will have the chance to listen to original studio masters, from the same speakers with which they were mastered. Amphion Two15 studio monitors, as well as all other Amphion loudspeakers use the innovative waveguide technology and controlled dispersion, which allow speakers to work in all acoustic spaces.

Antelope Audio’s Integrity Line of D/A converters, is especially designed to suit the diverse demands of hi-fi enthusiasts, high-end audiophiles and professional sound engineers. Zodiac DACs’ unique transparency, openness, clarity and depth inspire multiple Grammy Award Winners and Nominees like Jim Anderson, Scott Hull, Howie Weinberg and Morten Lindberg to choose them as their favorite reference converters, both for their studios and their homes as well. Together with a speaker like Amphion Two15 this allows you to hear the music just as the mastering engineer and musicians intended.

Zodiac DACs feature a plug-and-play custom design USB interface, allowing seamless connection with iPad, Mac , PC or just about any other digital media source, while supporting sample rate streaming of up to 384 kHz. The DACs also feature the renowned Antelope Audio 64-bit AFC technology and oven-controlled oscillator, which secured the company’s reputation as the clocking leader in the pro audio industry.

Amphion loudspeakers are designed to be in harmony both with the most demanding aesthetics and room acoustics. Thanks to their excellent dispersion characteristics, Amphion loudspeakers perform magnificently in challenging spaces, such as rooms with large windows and other hard, acoustically unfriendly surfaces. Amphion’s design embraces a natural midrange – traditionally a loudspeaker’s greatest challenge. Clarity and intelligibility come across crystal clear, even at low listening levels: for example as background and late night listening. Similarly, an even, wide dispersion permits the listener to experience a realistic and detailed sound while moving around the room, attending to chores or guests.

Visitors are welcomed to join Amphion and Antelope Audio at the Sound & Vision Bristol Show, Marriott City Centre Hotel, room 424, February 22 – 24, 2013.

Antelope Audio to demonstrate Its Series of D/A Converters at the High-End Audio Show in Alkmaar, The Netherlands

Radoslav S. — Thu, 07 Feb 2013 11:34:29 +0000

Santa Monica, CA, February 7, 2013 – Antelope Audio is exhibiting at the High-End Show in Alkmaar, The Netherlands, February 16 – 17, 2013. The company known for its precise audio master clocks, favored by most prominent A/V facilities around the globe, is demoing its line of audio DACs, supporting USB streaming of sample rates up to 384 kHz..

Antelope Audio’s Integrity Line of D/A converters, is especially designed to suit the diverse demands of hi-fi enthusiasts, high-end audiophiles and professional sound engineers. Zodiac DACs feature a plug-and-play custom design USB interface, allowing seamless connection with iPad, Mac , PC or just about any other digital media source. The DACs also feature the renowned Antelope Audio 64-bit Acoustically Focused Clocking technology and oven-controlled oscillator, which have secured the company’s reputation as the clocking leader in the pro audio industry.

All three models are receiving very positive comments any time they are reviewed. Audiovideo2day says: “Closer to the original is hard to get. You are, as it were, catapulted to the place of recording with a very natural setting with seemingly unlimited dynamics.” Hifi.nl adds: “… if you’re just looking for a very good D/A converter with preamp bonus feature and dual headphone jack, then the Zodiac is simply the smartest choice.”

Zodiac DACs’ unique transparency, openness, clarity and depth make multiple Grammy Award Winners and Nominees like Jim Anderson, Scott Hull, Howie Weinberg and Morten Lindberg choose them as their favorite reference converters, both for their studios and their homes as well.

Critical aspects of high end audio A/D and D/A converters and master clocks design

Antelope Audio — Tue, 22 Jan 2013 15:44:41 +0000

Here is an interview with Igor Levin published by Audio Times in 2012. Igor answers questions about some critical aspects of A/D and D/A converters and master clocks design.

Irrespective of the sampling rate, what are the really important elements within successful A/D and D/A converters designs?
About 20 years ago when I built my first D/A converter I had also to build a clock for it. At that time, clocks were not something that you just go out and buy. So I built my first clock for my first D/A converter. People liked the converter, but what they really appreciated was the clock. This was when I realized the importance of the stable clocking reference for digital audio.

I still believe the accurate clock is the basis for successful conversion. In fact as the chips get better and the circuit artifacts we struggled to overcome fall away, the significance of good clocking has come to the fore as never before. Today I would say it amounts to at least 75% of the overall sound. Of course there is a list of other important factors such as proper layout, stable power supply, the analog-based volume control etc.

Why do some converters sound so much better than others, when the science behind audio conversion must surely be well understood by now?
Converter design is as much art as science. Much like cooking. The secret is not just to have good ingredients but to be skilled in the art of combining them, taking into account how they interact and to have a sense of balance. Too much of a good thing is not always good. And in regards to the science of it, there is plenty of research and plenty of statistics but ‘good sound’ is largely a subjective thing, subject to trends and social consensus. As a result many of the parameters we use to measure the devices such as THD do not map very well to the subjective perception of quality. This ambiguity is something a good designer learns to live with as his skills grow. And, at the end of the day that is what makes audio design Art.

Where are we with jitter?
Jitter is another very complicated and controversial topic. Again I do not believe in a simple dictum, ‘the less the better’. I believe jitter can be used creatively like dither – which on the face of it is noise. I explain my philosophy in one video posted on Youtube . But shaping jitter, something we are doing in our products, is a very complex thing. So if the designer is not versed in the intricacies of jitter, he/she is better off just reducing it as much as they can. Killing the jitter at least allows you to start with a clean slate.”

Are there particular issues in getting digital audio in/out of PCs/MACs successfully? Pros and cons of USB/Firewire/MADI/others?
We do not see an issue with getting digital audio in/out of either PC or MAC. Our custom-designed USB chip gives us the performance to stream a 384 kHz signal. When it comes to connecting with computers I think USB 2.0 and soon 3.0 is the way to go. Firewire is a dying standard largely replaced by USB. Madi is an aging standard with limited performance, most appropriate for long cable runs. In my view the USB 3.0 has a chance to become the next ubiquitous standard as Thunderbolt is proprietary to Aptel (Apple/Intel) and won’t be universally adopted on Windows or ARM-based mobile devices.”

What should a user be aware of when connecting hi end converters into their recording set up, assuming they have a variety of digital audio equipment?
When connecting the converters it is best to use balanced audio connections. This aids greatly in preventing ground loop artifacts. The next thing to consider is clocking. It’s best to use one central master clock generator and provide individual Word Clock connections for each device.

Are issues of synchronous/asynchronous operation still relevant today?
For USB connections one should avoid adoptive mode. The synchronous or asynchronous modes achieve much lower jitter. Many converters are still running adoptive modes. Others are heavily promoting async mode. In our designs we can use both async and synch modes, but we found that the most marketed mode (async) does not provide the smoothest user experience and requires propriety drivers on some operating systems. Since we are one of the few that have the hardware capability to use synch mode we utilize it instead of the async in our DACs. The benefits are excellent jitter performance and smooth user experience without custom drivers.

Do I need a separate master timing clock?
I would always recommend the use of a separate dedicated master clock. This is the only way one can be sure that the digital devices are perfectly synchronized and the jitter multiplication due to device chaining is avoided.

How can I reduce jitter?
As I mentioned, reducing the jitter is jitter 101. You should strive higher to shaping the jitter as is done in our 4th generation jitter management technology. But to reduce the jitter you should use properly constructed short digital cables; AES connection instead of S/PDIF; avoid using Toslink, and finally, use a centralized master clock.

Do I still need to be concerned about digital clipping or is that a thing of the past?
It is best to avoid digital clipping as its acoustic effects are generally very unpleasant and nothing like overdriving tape. If you want tape saturation or compression sound, use dedicated analog devices with tubes or transformers to achieve that sound. Overdriving A/D creates atonal aliases that sound just awful. Now, as with every rule there are exceptions. If you really know what you are doing you may be able to get away with slight clipping of the A/D for a certain type of material but this is more for Bob Katz to comment upon.

Should converters should be ‘transparent’ or not?
My philosophy is that the converters should be transparent. Any sound shaping should be done by dedicated devices (equalizers, compressors, tape simulators, tubes, transformers) that are designed for the purpose and have a great degree of adjustability and control. To have a ‘colored’ converter is like having a camera with pink-colored lens. You do not always want all your pictures pink, do you?

At 24 bit/96kHz, are we now approaching a point where further improvements in performance will be negligible?
Well yes and no, or as the Germans say: “jein”. The 24 bits have not been achieved yet. In spite of a wave of 32 bit converters – which employ marketing rather than audio bits – the performance of state of the art converters is currently about 21-22 bits. Personally I don’t think more bits matter any more. But higher sample rates ARE important. And the issue there is not that you can convert up to 200 kHz (that only your dog can hear), but the fact that many software plug-ins work a lot better at higher sampling rates. This is especially true of compressors and various saturation simulators which benefit from oversampling. Arguments can be made that DACs also do a better job converting heavily oversampled audio by eliminating some upsampling steps. Currently there are sites that sell music re-mastered with high sample rates (352.9kHz) and you can use Eclipse 384 or Zodiac Gold to audition this material. Additionally with Eclipse 384 you can master your own content with 384kHz and realize the benefits of this approach.

Eleven-Time Grammy Winning Producer/Mixer/Engineer Rafa Sardina Relies on Antelope Audio Clocking Technology

Antelope Audio — Tue, 22 Jan 2013 14:58:21 +0000

Santa Monica, CA, January 22, 2013 – Rafa Sardina is one of the most in-demand producer/mixer/engineers in the USA and over the course of his storied career he has scooped up no less than eleven Grammy Awards for his work with the most successful artists in the world (Lady Gaga, Beyonce and Shakira amongst them). Several years ago, Sardina opened his own commercial studio, ‘After Hours,’ to provide his elite clientele with a creatively inspiring environment where they could access the best equipment in the world, with Sardina himself at the helm. Antelope Audio’s clocks were among the core ‘building blocks’ of “After Hours’ technical infrastructure.

“I have been experimenting with many clocks over the years and now use Antelope Audio exclusively,” says Sardina. He recalls the first time he was introduced to the company’s studio clocking devices: “I was doing some movie scoring sessions and needed to use different sampling rates on the same clock because some of the composers had started the project using different sampling rates. The Antelope OCX-V was the only box I could find that could simultaneously provide different sampling rates.” Sardina liked what he heard. “I was blown away and purchased it right away.”

After his initial ‘honeymoon period’ with Antelope, Sardina then began experimenting with Antelope’s atomic clocking technology and soon purchased the Trinity/10M combination. Since then, he has never looked back and says difference it has made in his studio is ‘absolutely audible.’”You really have to compare clocks side by side to hear the difference. And after you first hear it, you realize that the Antelope clocking technology is superior.”

Sardina currently has an Antelope Audio Trinity and 10M in his main studio, in addition to two OCX-Vs that he uses in his Pro Tools rig and a separate B-room upstairs. For Sardina, the Trinity/10M combo adds another dimension to the audio. “People tend to concentrate too much on preamps and EQs when upgrading their studios, but for me, great clocking makes all the difference,” Sardina observes. “Acoustics, speakers and clocking are the three most important ingredients in getting a great sound. Make these the number one investment in a studio, and it will completely change your world.”

As for the sonics of the Trinity/10M combo, he says this “opens up the soundstage for everything. You can always feel the wideness of the track with Antelope. You can’t hear this width when using inferior word clocks.” He says his Trinity/10M also makes the sonic image more defined across the frequency range: “I feel a more defined low end with less distortion, and a greater openness in the high end,” he says. “Antelope’s clocks opened up my eyes in many ways.”

Oftentimes, investing in clocking technology may not be the most popular choice when upgrading a studio – but not for Sardina. “When artists ask me for advice when setting up their home studios, they are always surprised when I am not hyping the latest preamps or converters. Instead, I am talking about speakers and clocks. This is because it is most important to know what you are listening to.”

Antelope Audio Brings Good Cheer to the Audio Community with Holiday Sales on High-End Converters and Clocks

Radoslav S. — Fri, 14 Dec 2012 13:17:54 +0000

Santa Monica, CA, December 14, 2012 – Antelope Audio announced that it is once again offering significant year-end, holiday discounts on its most popular and accessible products designed for audiophiles and audio professionals. Between now and December 31st 2012, select Antelope dealers will be offering the company’s Zodiac+, Trinity and Eclipse 384 at a discount of 15 percent off street price.

“Good clocking and conversion are fundamental building blocks towards achieving the best possible audio quality,” commented Marcel James, Director of Sales for Antelope Audio USA. “By taking advantage of our holiday discounts and acquiring Antelope’s best-in-class technology, audiophiles and music professionals can measurably improve the performance of their systems, whether they are listening to music or creating it.”

Antelope Audio’s clocking and conversion technology is used by the most discriminating engineers and mastering professionals in the music, film and television industries, and is a staple in many famous recording studios around the world. The company’s popular line of Zodiac D/A converters represent an elegant solution for nearly any home A/V system, and can dramatically improve overall audio performance.