L’association de Mixerman entre l’Orion 32 d’Antelope Audio et l’horloge Isochrone 10M améliore la clarté et approfondit l’image sonore tout en réduisant drastiquement le temps de mixage.

— L’homme du renouveau dans l’art de l’enregistrement et ingénieur du son accompli discute du prochain pas significatif dans le monde de l’audio numérique, ainsi que des « Aventures quotidiennes de Mixerman » qui sont fictives. —

 
Santa Monica , CA , 21 février 2014 – Eric Sarafin , alias Mixerman , a un CV accompli. Après avoir sorti trois titres musicaux liés à l’audio et ayant mixé les disques des meilleurs artistes, dont Ben Harper , Barenaked Ladies , Amy Grant et, plus récemment , Foreigner – = qui a fait appel aux talents de Mixerman sur son dernier album Foreigner live. Avec tous ses divers projets et intérêts, Sarafin est souvent considéré comme un homme du renouveau dans le domaine de l’enregistrement. En effet, il poursuit constamment la meilleure qualité audio possible dans ses mix, et a récemment découvert l’association ultime dans la technologie de l’audio numérique avec le convertisseur multi-canal Orion32 multi-channel converter d’Antelope Audio et son horloge Isochrone 10M clock. Antelope a rencontré Mixerman lors du récent NAMM Show 2014, où il a expliqué comment cette combinaison de conversion et d’horloge a permis à l’audio numérique de faire un bond en avant significatif.
 


 
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Antelope Audio Goes Atomic on Rihanna’s « Diamonds World Tour », Bringing Unmatched Sonic Depth and Clarity

1.	Rihanna onstage at The Staples Center in Brooklyn, NY during the Diamonds World Tour.

Rihanna onstage at The Staples Center in Brooklyn, NY during the Diamonds World Tour.

Santa Monica, CA, September 5, 2013 – Rihanna’s « Diamonds World Tour » is making its mark as one of this year’s most successful tours to date. According to a mid-year chart by Pollstar, it already ranks as the 11th largest grossing worldwide tour, having generated more than $50 million in ticket sales to date. Already well into its U.S. leg, « Diamonds World Tour » features several performances in North America, Europe, Asia, Africa and Australia. At the core of the production system is Antelope Audio, whose products facilitate clocking for the entire rig, including playback for synchronization, lighting, MIDI, sound effects and vocals.
 
This is the best sounding tour I’ve ever been a part of and we’ve been running really hard, » says Demetrius Henry, playback engineer for the Diamonds World Tour. « We didn’t think we could get our playback rig to sound any better, but the Orion³² interface has taken things to another level —the difference was like night and day. » Currently, the tour is running two Antelope Audio Orion³²s and a 10M atomic clock on playback, in addition to a Trinity | 10M combination at front of house (FOH). The Trinity | 10M combination, which is a favored selection among the world’s top mastering engineers, serves as the primary clocking duo for the entire production.
 
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Audio Master Clocks Fundamentals and Application Notes – Part 2

What devices need clocking?
 
In a simple system featuring one audio interface with built-in mic preamps connected to a computer-based DAW, the interface clocks the DAW since the most clock-critical element of the audio chain is the A/D converter, as that’s built in to the interface. If you were to add an external digital device to the equation (reverb, multi-effects processor etc), it should be configured to work as a clock slave to the interface.
 
Following that logic, even in bigger and more complex studios, it’s generally best to use an A/D as the master clock. If there’s more than one of these you’ll need to decide which one to use as the master, and everything else will have to be slaved to that. It’s quite possible that there will be audible differences between various configurations, because most A/Ds will perform slightly differently when configured as clock master and slave.
 
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Audio Master Clocks Fundamentals and Application Notes – Part 1

Trinity_Master_ClockWhy do we need clocks?
In order for an analog signal to be digitized, it must be sampled precisely and accurately in repeating intervals. The master clock provides that timing information and allows the waveform to be reconstructed as an analog signal correctly (assuming the sample rate is more than twice the highest frequency component of the audio signal being sampled). The clock identifies when each individual sample should be recorded or re-played (word clock).
 
If the clock timing varies, the audio samples will possibly be replayed or recorded at the wrong time resulting in sound distortion, jitter and aliasing. Jitter is the erroneous capture of a wave form over time. Although the apparent error to the clarity of the audio this creates there are other artifacts that maybe introduced with bad clocking.
 
Another type of clock is the ‘bit clock’. This is used in serial data interfaces like AES, S/PDIF and ADAT, where there is basically only one ‘conduit’ over which to pass the audio data. The bit clock ensures that the receiving device does not lose track of when each data bit stops and the next begins, eliminating the potential result in corrupted data values being received.
 
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Digital Encoding System choisit Antelope Audio pour numériser les enregistrements originaux des meilleurs artistes français

L’équipe de Digital Encoding System située en France en banlieue de Paris, mène à bien une tâche majeure et de longue haleine : transférer en audio numérique de haute résolution les masters stéréo et les bandes multipistes analogiques des plus grands artistes français depuis les années 50 tels que Georges Brassens, serge Gainsbourg, Barbara, Jacques Brel, Johnny Hallyday…
 
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L’Interface Orion32 d’Antelope présente à la Musikmesse de Franckfort ses nouvettes caratéristiques, ses possibilités de mise à jour

Santa Monica, le 3 avril 2013CA – Antelope Audio Orion32 est le premier convertisseur du monde à proposer 32 canaux AD/DA avec horloge maîtresse audio en rack 1U et sera le produit porteur de la compagnie au prochain Musikmesse de Frankfurt du 10 au 13 avril 2013. L’équipe Antelope démontrera en exclusivité les nouvelles possibilités de mise à jour de l’interface audio qui est devenue le best-seller en seulement trois mois après son apparition. Rendez-vous sur notre stand: Hall 5.1, Stand C74.
 
orion32-close-up_500x337
Le mixer, élégamment intégré au control panel, procure une latence extrêmement basse en mix et monitoring qui peuvent être assignés via le control panel, autorisant ainsi un routage de chaque sortie de l’Orion32. A titre d’exemple on peut faire glisser tous les 32 canaux de lecture USB vers le canal de mixage et ensuite le MIX L/R inputs vers le DAC 1 et 2, de façon à obtenir un stéréo bus de mix sur les canaux DAC 1 et 2. Le Mixer à Zéro Latence offre les fonctions basiques d’un mixer habituel : Solo, Mute, Pan, Volume Level contrôlé par des faders et Master Fader, possibilité de réaliser facilement un stéréo mix.
 
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Critical aspects of high end audio A/D and D/A converters and master clocks design

Igor Levin
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.

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Antelope Eclipse 384 AD/DA Converter Brings Master-Quality Audio to Korn Frontman Jonathan Davis’ Road Rig

Jonathan Davis recording on Eclipse 384Los Angeles, CA, August 21, 2012 — Korn shook up the nu metal world at the end of 2011 when the L.A.-based band released its tenth studio album, “Path of Totality,” featuring collaborations with a host of dubstep producers including multiple Grammy Award-winner Skrillex. Now, Korn frontman Jonathan Davis is doubling down on his recent statement that “North American dubstep is the new electronic heavy metal” through a side project, Killbot, and a solo project under his DJ name, J Devil, recording into a laptop on the road and in the studio using Antelope Audio’s new Eclipse 384 converter, master clock and monitor controller.
 
Davis recently added the Eclipse 384 mastering converter in order to streamline his mobile production rig after spotting it on the Antelope Audio web site. The 384 kHz A-to-D & D-to-A converter is clocked, using the same Oven Controlled Clock and 64-bit Acoustically Focused Clocking technology that is implemented in Antelope Audio’s renowned Trinity Master Clock. The Eclipse 384 offers additional features conducive to mobile production applications, including two dedicated headphone amplifiers and a custom USB interface as well as two large peak meters on the front panel. In order to simplify operation, users can create up to five custom presets of favorite setups via the system’s OS X- and Windows-compatible software control panel that may then be recalled from the Eclipse 384’s front panel.
 
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Live Concert Applications of Antelope Audio Master Clocks

by Robert Dugan, Sound Engineer
 

Antelope Audio 10M & Trinity Combo during a Live Event with Robert Dugan


I‘ve personally used Antelope Audio in the Live Sound domain. At first, I was skeptical of how much clocking could really change the sound, especially since I was using a digital console. But after the unpacking and setting up, it was all ready to go within five minutes and, if I would have known how I was going to react, I would have prepared a little better.
 
Upon hearing Deftones “Digital Bath,” it seemed like the PA had come alive after sleeping for years. The drums were lifelike and it sounded like I was listening to the Deftones right in the rehearsal room. Immediately, I thought that the clock couldn’t be doing all of this, so I unplugged the BNC from console to Trinity. The sound seemed to escape and it reminded me of listening to the song through iPod headphones – thin and one road.
 
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Some Words for Clocks or Why do we need precise clocking

by Robert Dugan, Sound Engineer
 

56 inputs, all synced by Antelope Audio clocks


The Importance of Clocking
 
Like it or not, the digital age is coming in full force, making every audiophile worried about quality being lost. This is why it’s best to educate audiophiles and consumers about the importance of clocking. I’ll try and make this easy to understand and straight to the point. When an analog signal is about to be converted to a digital signal, it is represented by bits that are representations of the analog waveform. When two points that are represented are slightly off, they create jitter – which is digital distortion.
 
Clocking can play a very important role during this process. With all these signals digitized, it’s important that the timing and space between every ‘bit’ are exactly the same (in sync), so the audio source has no jitter. This is where Clocking comes into play by synching all the audio signals.
 
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