Tag Archives: clocking

Live Concert Applications of Antelope Audio Master Clocks

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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

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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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Antelope Audio to Demonstrate Eclipse 384 A/D & D/A Converter, Master Clock and Monitor Controller at Musikmesse Frankfurt Trade Fair on March 21-24, 2012

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Luna – Eclipse 384 Remote Control Prototype Also to be Unveiled at the International Music Business Fair

 

Frankfurt, Germany, March 16, 2012 — Antelope Audio will demonstrate its professional-grade 384 kHz A/D and D/A converter, master clock and monitoring controller at Musikmesse 2012 in Frankfurt between March 21st and March 24th at the Exhibition center in Hall 5.1, Stand C 55.

 

The Eclipse 384 is the first multifunctional audio device capable of providing 384 kHz A/D and D/A conversion clocked by Antelope’s 64-bit technology and powerful, flexible monitoring control. Previously, the Eclipse 384 won both the “Best of Show” and “Gear of the Year” awards from two highly respected industry publications shortly after its launch last October.

 

The upcoming Eclipse 384 remote control – Luna will be demonstrated in prototype form at the Musikmesse. It provides users with a flexible way of placing key aspects of the Eclipse 384 within reach of any listening position. With the exact same functions featured on the front of the Eclipse 384, Luna enables sound engineers to easily control the device while sitting in front of the console.

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What are the Particular Strengths of Antelope’s Trinity Master Clock?

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This is the third video post in which Igor Levin talks about clocking technologies and Antelope’s products.
 
This time the topic is the Isochrone Trinity – a universal high-definition master clock employing Antelope’s 4th Generation of Acoustically Focused Clocking with 64-bit Digital Signal Processing (DSP) and up to 384 kHz audio streaming.
 
Igor explains the major strengths of Trinity and what makes it one of the most preferred clocks not only in sound recording and mastering studios, but in film scoring facilities as well.
 
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Pony Canyon, The Leader in Japanese Music and Film Industry, Meets Antelope Audio

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Woong San, Korea's No.1 Jazz Vocalist

Tokyo, January 26th, 2012 – Pony Canyon Inc., a major leader in the Japanese music, film, anime and games industry, jointly produced a special seminar/liveshow/wine-tasting with Antelope Audio’s Japan Office. Held at Pony Canyon’s HQ, more than 150 guests including engineers, producers, artists and audiophiles attended the three-hour event – a showcase of vocal/piano talent, Antelope equipment and fine wine.

 
The audience were thrilled by Korea’s No.1 Jazz vocalist, the beautiful Woong San, and subsequent panel-discussion on “the making of” her new CD in which Antelope Audio’s masterclocks played an intrinsic role. The evening also featured an extensive presentation on the power of clocking, as told by Pony Canyon’s award-winning jazz/classical engineer Yoshihiko Kawasaki.

 
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Antelope Audio Names Vintage King Audio “Dealer of the Year” for its Pro Audio Category

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Santa Monica, CA., December 19, 2011 — Antelope Audio has named Ferndale, Michigan-based Vintage King Audio its 2011 Dealer of the Year, Pro Audio. Vintage King was recognized for its outstanding sales performance, customer support and overall product knowledge of Antelope Audio’s master clocks and digital to analog converts (DACs).

“We are pleased to present Vintage King with our Dealer of the Year award in the Professional Audio category,” commented Marcel James, Director of Sales for Antelope Audio. “Since its founding in 1988, Vintage King has been an essential resource for the pro audio community, serving the market with not only the best products but also an incredibly knowledgeable staff. In 2011, they have done a fantastic job with Antelope Audio’s products — particularly with our Trinity and 10M clocks.”

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Assessing the Sound Quality of Antelope’s 64-bit Acoustically Focused Clocking

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This is the second of the series of blog posts and videos with Igor Levin, CEO and founder of Antelope Audio talking about clocking and Antelope’s technologies.
 
In this video Igor is explaining what is hidden behind the term Acoustically Focused Clocking, which is one of the core Antelope clocking technologies.
 
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Antelope Introduces a 384 kHz A/D & D/A Converter, Master Clock and Monitoring Controller

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Santa Monica, Calif., December 7, 2011 — Antelope Audio announces the launch of Eclipse 384 – the first of its kind multifunctional audio device that provides 384 kHz A/D and D/A conversion clocked by Antelope’s renowned 64-bit technology and a powerful and flexible monitoring control.

Eclipse 384 was unveiled during the Audio Engineering Society (AES) convention in New York last October, where it received the accolade “Best of Show” and subsequently “Gear of the Year” from two highly regarded industry publications.

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Antelope Audio Brings Back Popular OCXmas, Offering Special Season Discounts

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The Holidays Come Early For Project Studio and DAW Users Wanting to Take Their System to the Next Level by Enhancing Clocking, Conversion and Monitoring Performance

Santa Monica, Calif., November 21, 2011 — Antelope Audio announced the return of its OCXmas special this holiday season, by offering substantial discounts on its most accessible products including the Isochrone OCX master clock and the Zodiac digital to analog converter (DAC).

Beginning on Black Friday and running through December 31st, authorized Antelope Audio dealers will be offering the Isochrone OCX at $1,095 — a $300 discount from its regular street price of $1,395, and the Zodiac at $1,295 — a $400 discount from the price of $1,695.

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Michael Brauer Relies on Antelope Audio’s Trinity and 10M Clocks to Achieve a Tighter, More Focused Sound

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Brauer Cites ‘Natural Depth and Width’, Insisting on Antelope for Mixing and Mastering Phases of all his Projects
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New York, October 19, 2011 — Four years ago, Michael Brauer was coaxed to stop by Antelope Audio’s booth at the Audio Engineering Society convention, where he was asked to A/B the company’s brand new product: the Isochrone 10M Atomic master clock generator. Brauer, who had recently finished mixing My Morning Jacket’s Evil Urges album, was skeptical that another clock besides the Antelope OCX he was already using could make a significant and discernable difference in the audio quality. But after listening to ‘blind’ A/B comparisons of his mixes played after adding the 10M to the atomic input of the OCX and those without the 10M, he was sold.

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