Audiophile/Home Recording Review!Benchmark DAC2 D D/A Converter:Lower-Cost DAC2 Sheds Analog Imputs,Retains Sonics, DSD-on-PCM Playback

Brevis...

Price: $1,795

Likes: same great DAC2 sound, less $

Dislikes: no AES/EBU input

More info: Benchmark Dac2 D

by John Gatski

  Based on its highly acclaimed DAC2 HGC DAC, introduced last Fall and reviewed by yours truly, the new Benchmark DAC2-D gives you the same great decoding, headphone amp, and DoP (DSD over PCM) playback; but by eliminating the analog inputs and 12V trigger of big brother HGC, the DAC2 D nets you a $200 savings. Yay!

  With audiophiles and computer audio buffs always looking for better deals, and the fact that foreign-made DACs are putting pressure on US manufacturers, it was smart of Benchmark to find a way to create a lower-priced model.

  For many audiophiles, the analog DAC input is an option that is not always used. Since I have my personal preferences for either my Coda line preamp, Rogue Model 99 Magnum tube stage and or passive, volume control Pass XP-10, I rarely used the analog inputs on my old DAC1 Pre nor do I on the new DAC2 HGC, which I have had since October. And I have never used a 12V trigger to activate a component in a real-world setup, except to see that it works during a review.

  In my opinion, it is more important that the DAC have exemplary decoding, one each of the typical digital inputs and balanced and unbalanced line outputs. And, of course, a great headphone circuit is required.

Features

  Priced at $1,795, the DAC2 D’s performance is exactly the same as the top-of-the-line HGC model — with the Sabre32, eight-channel (summed to stereo) 32-bit DAC (ES9018), DoP DSD conversion, onboard sample rate/word length indicators, UltraLock2 jitter attenuation, and asynchronous USB 2.0 audio.

  As well, the DAC2 D utilizes the high-resolution 32-bit volume control and excellent headphone amp contained in the DAC2 HGC. Other features include polarity switch, home theater bypass (high throughput mode), multiple digital inputs, digital pass-through, and high-efficiency, low-noise power supplies.

The DAC2 D offers the same dynamic accuracy, yet warm, smooth analog character as the "HGC." It just has a few less bells and whistles, but it is lower in price. In my opinion, both Benchmark DAC2s set the standard for today’s full-featured, modular high-resolution audio DAC.

  Although it eschews analog inputs, the DAC2 D still has plenty of connections: two SPDIF RCA inputs, two TOSLink SPDIF inputs, USB input, two sets of analog RCA outputs and a pair of balanced line outs. (The DAC2 Series, however, does not have AES/EBU balanced input). Throw in the ESS Sabre chip, DOP decoding, and one of the few DACs to display both word length and sample rate values, and you have the recipe for a great DAC.

  You can read my detailed rundown on the performance design that went into the DAC2 HGC/DAC2 D in my DAC2 HGC review, but I want to refocus on the the Hybrid Gain Control (analog/digital) volume control, which is key to its sonic signature. My DAC2 HGC review noted the increased smooth ness factor of the DAC2 vs. the old DAC1 series.

  John Siau, Benchmark VP and chief product designer, stresses that the DAC2 HGC’s High-Headroom DSP allows the new DAC2s to deftly handle digital signals as high as +3.5 dBFS, which transmit smoother-sounding audio on maxed digital recordings. According to Siau, most digital systems clip signals that exceed 0 dBFS. For years, he explained, the 0 dBFS limitation seemed reasonable, as 0 dBFS is the highest sinusoidal signal level that can be represented in a digital system.

  However, Siau noted that real-world measurements and math equations show that PCM digital systems can have inter-sample peaks that may reach levels slightly higher than +3 dBFS — though the individual samples never exceed 0 dBFS.

 These inter-sample overs have a negative impact on the PCM interpolation filter, which is a key component of 24-bit DAC performance. The inter-sample overs cause distortion components that are audibly non-musical and harsh under subjective testing; with hot digital recordings, the old DAC1, as good as it sounded, could relay a certain harshness with revved-up recordings.

  “The DAC2 HGC/DAC2 D avoid these problems by maintaining at least 3.5 dB of headroom in the entire conversion system,” Siau noted.

  Another design element that contributes to the DAC2‘s lush analog character, is the volume control. To achieve linear volume control, the DAC2 HGC combines active analog gain control, passive low-impedance attenuators, a 32-bit digital gain control and a servo-driven volume control. All inputs are controlled by the rotary volume control, and the volume control moves in response to commands from the remote control as well.

No analog in jacks, but still pnety of connections for Dac2-D

  According to Benchmark, “analog inputs are never converted to digital, and digital inputs never pass through an analog potentiometer.”

  Speaking of inputs and outputs, the DAC2 D also includes the useful digital output via SPDIF jack. This is done by moving an internal jumper, which turns the Coax 2 Input into the output. You can feed another input, such as receiver, recorder, etc. with the digital output. Just one more DAC2 asset that stays put in the “D” model.

  My silver finish sample looked right at home in an audiophile rack or computer set up, but the DAC2 is perfectly at ease with home recording or pure professional rigs as well. The myriad of digital inputs, analog unbalanced and balanced XLR output, professional grade headphone amp gives it enough features, and the decoding is worlds above many DAC-equipped recording/playback interfaces used by pros. Remember, Benchmark ha always catered to professional recording engineers and broadcasters.

The audition

  I tested the DAC2 D in the same scenario as I tested the DAC2 HGC last Fall. I threw in a few extra components for headphone use. Components included Pass Labs X350.5 amplifier, Coda preamp, MartinLogan Montis electrostatic loudspeakers, Macbook Pro computer, Oppo BDP-105 universal player; for headphone listening, Bryston BHA-1 headphone amplifier, AKG K702 and Shure SRH1840 open phones. I used Wireworld USB and HDMI cables and Alpha-Core solid silver interconnects and speaker cables.

As with the Benchmark DAC2 HGC, the DAC2 D sound quality is A+. Via its headphone amp and line outputs, the sound is ultra-detailed with a wide soundstage — not a hint of harshness. Drums, cymbals, piano single notes and acoustic guitar flat picking are presented in an honest fashion, with instruments perfectly placed in the mix.

  I had several DACs on hand including my Mytek Stereo192/DSD, and a review sample of the new TEAC UD501 for comparative listening. Most of the audio samples were 24/96 or 24/192 kHz. To test DoP playback, I took original recorded acoustic guitar recordings made on a TASCAM DVRA1000 in DSD-64. They were than transferred to computer and played via the Mac through Audirvana playback software.

  As with the Benchmark DAC2 HGC, the DAC2 D sound quality is A+. Via its headphone amp and line outputs, the sound is ultra-detailed with a wide soundstage — not a hint of harshness. Drums, cymbals, piano single notes and acoustic guitar flat picking are presented in an honest fashion, with instruments perfectly placed in the mix. The amount of width and depth contained in hi-res instrument tracks is truly impressive — especially through the spacious character of my MartinLogan Montis electrostats.
  That ultimate smooth factor added that much more to the realistic sheen of my original recordings’ playback. Through my AKG K702 headphones, for example, my Martin acoustic guitar 24-bit recordings were vivid in their presentation The recording rig, without any compression, limiting or multi-track layers, imparts an immediate, live feel to my acoustic guitar recordings; the DAC2 relays the A/D recording, like its big brother, with an enveloping accuracy that was not possible ten years ago from such an affordable DAC.

Dac2 D word/sample rate status LEDs

  Through the MartinLogans, the breadth of the Tom Jung-recorded SACD of Warren Bernhardt So Real, dubbed to 24/192 PCM, filled the room with layers of detail of percussion and piano. Within the playback system, the Benchmark helped make a virtually live performance in my listening room.

  Compared to the Mytek, which uses the same ESS DAC chip, the DAC2 D was a touch warmer via its headphone amps, but via line out they are very similar. (The TEAC was a bit more present in its tone via the headphone and line out, but not quite as smooth on more modulated instruments, such as brass.)

  I have to emphasize how pleased I am that the Benchmark ‘D’ model comes includes the informative word length and sample rate visual indicators — via front panel LEDs, which first appeared on the top model, Dac2 HGC. In my opinion, you need that feature when listening to audio on a computer.

  For example, since the Core audio system on a Mac doe not always follow the playback program’s playback word length/sample rate settings, I have found that the Mac system can inadvertently default to 16-bit and a lower sample rate — without the operator knowing it. Since the Mac sample rate converter kicks in without you knowing it, the music still plays out the analog and digital ports, but it can be dumbed down to 16/44.1 — even if the recording is 24/96.

  With the Benchmark digital status indicators, the DAC2 D reveals the true digital output of the source — computer or another player. For example, its indicators showed me that the Oppo BDP-105 no longer supports full 24/192 SPDIF output from commercial DVD-As. All you get is 16/48 from a DVD-A via the SPDIF.

The verdict

  In essence, the DAC2 D offers the same dynamic accuracy, yet warm, smooth analog character as the "HGC." It just has a few less bells and whistles, but it is lower in price. In my opinion, both Benchmark DAC2s are the standard for today’s full-featured, modular high-resolution audio DAC. The DAC1 personified the DAC world in the early 2000s, but the DAC2 rules today. Like its big brother the DAC2 D receives an enthusiastic Everything Audio Network Stellar Sound Award. 

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Home Theater Review!Onkyo TX-NR5010THX Ultra2+ Multi-Channel Receiver

"Top-End Model Offers Audiophile Sound Quality"

by Russ Long

  Onkyo’s latest flagship receiver, the TX-NR5010, is the company’s most impressive to date. The $2,999 receiver includes THX Ultra2+ Certification, which is reserved for products that are equipped to successfully deliver the cinematic experience to home theaters up to 3,000 cubic feet — with a viewing distance of 12 feet or greater from the screen. This is the largest class of home theater.

Features
  The substantial (17 1/8" wide x 7 13/16" high x 18 1/4" deep) TX-NR5010 weighs in at just over 55 pounds and is enclosed in a chassis constructed of thick anti-resonant aluminum panels. Featuring all discrete analog circuitry, the receiver incorporates a massive toroidal transformer supported by two independent transformers — one for audio and one for video processing.
  The receiver’s D/A conversion incorporates PLL jitter-cleaning, VLSC noise-mitigation and premium 192 kHz/32-bit Burr-Brown DACs. Audio signals are amplified through Three-Stage Inverted Darlington Circuitry that incorporates a triple-transistor array, cutting distortion and boosting current flow to the speakers. The Digital Crossover Processing Network enhances performance when bi-amping the front channels. A Differential DAC Mode reassigns DACS to only the channels being used. Video technology includes the Dual-Core Video Engine that utilizes Marvell’s Odeo technology for upscaling to 4K, coupled with the HQV Vida VHD1900 for upscaling to 1080P. ISF video calibration allows every video input to be optimized.
  The logical layout of the TX-NR5010’s connector-laden rear panel prevents it from feeling overly cluttered. The eleven pairs of gold-plated speaker output terminals are located along the bottom of the panel making it easy to isolate speaker cables from the component connectivity. The receiver contains nine 145-watt amplifier channels. There are also 11.4 channels of pre-out (the .4 is two outputs for each channel of the sub stereo out). The internal amps and pre-outs can be used simultaneously, and if you find (as was my case) that nine amplifier channels is actually more than you need, you can use them to power any or both of the other audio zones or to bi-amp the mains. HDMI or composite video out can also be routed to Zone 2 (up to 1080p).

The Onkyo TX-NR5010 really shines in its sonic output; this receiver rivals many audiophile separate amp/preamps when it comes to high-res audio movie and music music. It is that good!

  The receiver’s HDMI, DLNA, and smart phone MHL allow playback connectivity from a wide variety of standard sources. Eleven HDMI ports (9 in and 2 out) include support for 3D, Audio Return Channel, DeepColor, x.v.Color, LipSync, Dolby TrueHD, DTS-HD Master Audio, DVD-Audio, SACD, Multichannel PCM, and CEC. In addition, the front-panel’s USB port provides iPod/iPhone connectivity while the rear panel’s USB provides for more permanent media storage. Three coaxial/optical digital audio inputs provide more audio connectivity.
  There are two antenna inputs (one for the main zone and one for Zone 2) and even twelve-volt triggers for Zone 2 and 3. Also included is RS-232 control and a PC input. Onkyo’s optional Bluetooth adapter (UBT-1) provides an alternate way to listen to music from a mobile device; audiophiles will be glad to see that it includes a phono input.

The NR5010 Has Plenty of Speaker Options

  The TX-NR5010’s brilliantly designed GUI overlays on the HDMI output for seamless receiver integration. It’s nice to see a receiver finally getting the GUI integration that its TV and Blu-ray player counterparts have enjoyed for some time. The versatile remote provides control of the TX-NR5010 as well as other Onkyo gear. It feels slightly cluttered at first but the layout is intuitive making it simple to find the desired function once you are used to the button arrangement. This said, I downloaded and installed the Onkyo Remote App on my iPhone 4S and found this to be my favorite way to control the NR5010 for normal use.
  The built-in Audyssey MultEQ XT32 tool provides calibration of all of the system’s channels including the dual subwoofers. The DTS Neo:X feature, currently the most advanced and comprehensive upmixing solution available, offers up to 11.1 surround channels with distinct front-height and wide imaging. This amazing process pulls you into a film creating an amazingly realistic 3-D sonic experience.
  The InstaPrevue feature provides a picture-in-picture preview for the HDMI and MHL inputs. The receiver is fully networkable and is DLNA Certified for local streaming. As is the case with most AV receivers, the TX-NR5010 doesn’t have built-in Wi-Fi but Onkyo sells a wireless LAN adapter. Utilizing an Apple Airport or Airport Express is another option. The receiver is pre-configured for many of the popular streaming services such as Spotify, vTuner, Pandora, Rhapsody, Slacker, LastFM, iRadio, Aupeo, MP3tunes and Sirius/XM iRadio. It does not support connection of a Sirius/XM satellite antenna as Sirius/XM comes via iRadio only. When you can stream music to the TX-NR5010 from Windows Media Player’s Play-To feature, there is no AirPlay support, but you can stream from an iPhone/iPod via the network — using Onkyo’s remote app.
  Unfortunately, the Onkyo does not contain multichannel analog inputs. Thus, if you have a favorite BD player with analog outs, such as an Oppo, the older Yamaha, etc., you are out of luck. You gotta use HDMI.This probably isn’t an issue with newcomers to the home theater market, but those of us who have been doing this for a long time are most likely to have some older pieces of 5.1 equipment that we are not yet ready to retire.

The Setup
  The majority of my testing was done using the Onkyo TX-NR5010 along with a set of Episode 700 Series speakers (2 x ES-700-MON-6, 1 x EX-700-LCR-5, 2 x ES-500-SAT-4, and 1 x ES-SUB-12-300). The ES-700-MON-6 speakers were placed on a pair of 18” speaker stands — with the ES-700-LCR-5 at the same height mounted just below a Sony KDL-46EX640 LCD TV. The ES-500-SAT-4’s were mounted slightly higher at 36”. All five tweeters were focused at the listening position. The entire Episode speaker system, with the exception of the ES-SUB-12-300 powered sub was powered with the TX-NR5010. The majority of my time was spent monitoring with all five channels single amped but I spent some time monitoring with the left and right channels bi-amped. Playback was primarily via the Onkyo BD-SP809 Blu-ray player, Pioneer Elite BDP-53FD Blu-ray player and an Apple iPod.

Stellar Sound is an understatement with the TX-NR5010

  Before doing any listening or viewing, I calibrated my system with the built-in Audyssey MultEQ XT32 utility which I found to be easy and straight forward to use, and based on my listening tests, quite accurate. It automatically calculates and sets all levels and distances as well as performing room acoustic correction. The included microphone is connected to the front panel input and is used to take measurements from up to eight positions around the room before automatically calibrating the sound. Onkyo’s advanced 32-bit DSP chip provides a host of preset sound modes that work well in many situations including four gaming settings (Rock, Sports, Action and RPG), multiple THX presets and several music modes.

The Audition
  I used my staple evaluation material to test the receiver’s audio performance and ease of use. Using a Pioneer Elite BD-52 univrsal player, the Onkyo TX-NR5010 is perfectly suited for music playback. I referenced Pink Floyd — Dark Side of the Moon, James Taylor — Hourglass, and Elton John — Goodbye Yellow Brick Road SACDs and a wide variety of DVD-A discs including The Beach Boys — Pet Sounds, The Beatles’ — Love, Bjork — Vesperine, and Fleetwood Mac — Rumours and was thoroughly impressed with the receiver’s performance and ease of use.
The sound, routed via my reference 5.1 cadre of Episode speakers, has never sounded better than when used in conjunction with the TX-NR5010 receiver. After spending time comparing between single-amping and bi-amping the mains, I found that making the jump to bi-amping makes a more significant audio quality improvement than I would have anticipated. Clarity improved, as did low-frequency definition. This was more noticeable when listening to stereo material than when monitoring in surround, but it was noticeable in both instances.
  Compared to a reference ES Sony receiver from just a couple of years ago, the dynamics, width and depth were much more obvious via the Onkyo. In fact, the detail and clarity on movie soundtracks were the equal of many separates I have auditioned.

 Many receivers that tend to sound good when listening at lower volumes often become edgy, brittle and piercing when listing to loud music or during dynamic segments of a film. This is not at all the case with the TX-NR5010, which retains its smooth, open, high frequency presentation — even during extremely loud playback.

  The receiver did a wonderful job reproducing the audio tracks of Batman — The Dark Knight, Ratatouille and Hugo. These three films are among my favorites for pure audio quality and all three translated beautifully through the TX-NR5010.
  Many receivers that tend to sound good when listening at lower volumes often become edgy, brittle and piercing when listing to loud music or during dynamic segments of a film. This is not at all the case with the TX-NR5010, which retains its smooth, open, high frequency presentation — even during extremely loud playback. Additionally, even at extremely low volumes the TX-NR5010 maintains clarity, definition and punch.
  The width and space of the sonic cues and ambient effects in lossless soundtracks are excellent. They match or exceed receiver and standalone pre-pros/amp combos that cost twice the price. The Onkyo is a truly audiophile-grade multichannel receiver.
  The only negative I found was that of the internal audio relay click noise. It’s on and off clicking as the audio activates or deactivates when moving through the menu items was noticeable. That is a minor quibble, but that is it. This receiver is that good.

The verdict
  Onkyo’s feature per dollar count never ceases to amaze me and the TX-NR5010 is no exception. While $2,999.00 is a healthy price tag for a top-performing receiver, the more time I spend with this unit, the more I find myself considering it a bargain. Features like 11.4 channel DTS Neo:X support, Zone 2 HDMI output, and ISF calibration separate it from the rest of the pack. Plus the Onkyo really shines in its sonic output; this receiver rivals many audiophile separate amp/preamps when it comes to high-res audio movie and music music. It is that good.
  Any home cinema user in need of a feature-packed receiver with uncompromising, spectacular sound should give the TX-NR5010 top consideration. It also gets our Everything Audio Network Stellar Sound Award.

 An avid home theater and audiophile listener, Russ Long makes his living as a Nashville-based professional audio engineer, who has recorded hundreds of albums for various artists, including Grammy Award winner Sixpence None The Richer. 

Onkyo BD-SP809:

"A More Video Friendly BD Player”

  During the TX-NR5010 review period, we utilized Onkyo’s flagship BD-SP809, priced at $600. The Blu-ray player is beautifully designed and perfectly matches the TX-NR5010. This THX-certified player, one of the few certified BDPs on the market, includes Marvell's Qdeo processing which delivers excellent image quality on Blu-ray and DVD discs. In fact, we were awed by its high-res image quality.

  If you only want to play commercial Blu-rays, DVDs and CDs, the Onkyo is an outstanding player. The player’s dual-HDMI outputs can be helpful in unique configuration situations. USB connectivity provides digital playback from several file formats including MP3, DivX HD, and WMA.

  While the player performs wonderfully as a video player connected to a receiver or pre-pro, with exceptional 1080P image quality and upscaling, its $600 price tag does not net you any extras that lower-price units deliver, such as Wi-Fi. And it has only a limited list of streaming media services (like Pandora, Amazon Instant, MLB.TV and Hulu Plus).

  Compared to numerous other Blu-ray players, it also eschews more advanced audio features that are common on players produced over the last two years, such as the ability to play SACD, DVD-A, FLAC and high-res audio PCM .WAV files from data BD and DVDs, as well as USB drives. We could only play lower-quality WMA and MP3 stereo audio files from Windows-formatted USB drives.

  The HDMI audio output from commercial Blu-rays allow only the full-res audio via the HDMI compliant handshake output to the receiving equipment (receiver, pre-pro). But many players can output more full-res stereo audio, PCM audio by utilizing an HDMI audio de-embedder that takes the HDMI output and converts it to SPDIF, which allows them to be connected to a separate DAC. The Oppo and Pioneer players, for example, output high-res PCM from Flac, HDTracks downloads, AIX Records and 2L BDs.
  However, our tests show that the Onkyo’s audio output is limited when using it as a high-res stereo PCM player, when connecting its HDMI output to an HDMI de-embedder. At $600, I would expect the Onkyo to perform similarly to the Oppo, but the answer is no. The Onkyo, for example, would not output 24/192 kHz stereo tracks from our 2L BD through the HDMI de-embedder; it would only play as high as 24/96 if you seleetd downsample from the Audio menu. We could not get it to play any .WAV files from a USB stick, formatted Fat32 in Windows. Also, it would only play MP3s from the Windows-formatted USB stick. It also would not play any DVD or BD .WAV music data discs that our Oppo and Pioneer units play perfectly.

   Our opinion: the Onkyo BD-SP809 is for hardcore Onkyo fans who want the corporate logo match with the excellent Onkyo receiver, and who primarily watch movies, which the player excels. If you want more advanced audio playback features, there are more capable BD players out there.

—Russ Long and John Gatski

©Articles on this site are the copyright of the Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Home Recording Studio Review!Antelope Orion32 Multichannel A/D-D/A24/192 Computer Recording Interface

EAN Reviews Orion32 at Sirius-XM Studios in DC

Brevis...

Price: $2,995

Likes: 32 channels A/D-D/A, sound quality

Dislikes: needs separate A/D channel trims

More info: Antelope Orion32

by Jackson Macinnis

  With more than 30 years of digital recording under our belt, we have arrived at a place where we can use 24-bit technology to bring us the analog smoothness we all love, yet gives us the added dynamics and detail that are positively live in their character. To achieve this, all we need is hard drive space and computing power. But up to now, the vast powerful, digital rigs were expensive and complex — with proprietary interfaces, etc.

  Digital audio recording is now at a crossroads where even the most astute commercial, savvy home studios and live sound companies are rethinking the need for full blown, complex recording rigs with massive investments in PCI cards and I/Os needed to put together a complete system.

  The trend to downsize digital rigs without losing quality is typified by Antelope Audio’s new Orion32, a 32-channel A/D-D/A DAW 1RU-sized interface, retail priced at an incredible $2,995; it has come along at the perfect time. The Orion32 is the product that just could be a pivot point for many recording engineers who want to keep options open, rather than committing to expensive proprietary hardware systems. I wouldn’t mind rolling into a live venue with a laptop and the single-rack space Orion and handing the front-of-house engineer my one MADI cable and, later, walking out with all the tracks ready to mix.

Features

  The Orion’s 32 channels of analog-to-digital conversion and digital-to-analog conversion, contained in a single rack space, is remarkable, but the feature that blows my mind is that it can record those 32 channels of audio via a single USB cable, up to 24/192. The word from Antelope is that they have created a proprietary USB 2.0 chip that does all the amazing automation required to move that quantity of data. This same specification would be nearly three times the cost of a comparable I/O Avid system, not to mention the cost of the PCI cards involved.

Holy Cow! 32 Channels for under $3,000

  Some of Orion32’s features, including the built-in MADI inputs and outputs (which we find are more and more available on live mixing consoles from companies, such as MIDAS) are future-looking bells and whistles that are a great example of why this unit is relevant and timely. It also has full light-pipe I/O for even more flexibility.

  One of Orion32’s key features, for use in larger studios and video post production, is the integration of the Antelope master clock, which is well known in the audiophile community. The Orion has multiple outputs from this clock. Another key feature is the addition of its “Atomic Clock” input, which is for facilities that have vast digital routing capabilities and needs, like a large broadcast facility or massive live sound system. Antelope makes an Atomic Clock generator, said to be one of the most accurate clocks on the market. Digital clocking is a specialty of Igor Levin, the founder of Antelope; in fact, we still have Levin’s Aardvark-manufactured digital distribution clock in use at Sirius-XM.

  As with many computer recording interfaces, the analog I/O comes via a DB-25 connector/cable bundle, which saves a massive amount of chassis space and are readily available. There is also the standard SPDIF I/O as well.

  The unit has a very simple front panel, with what I would describe as micro-meters, that show all 64 (32 A/D-32 D/A) channels’ activity. You can easily spot digital overs, regardless of the small size. The Orion has five preset buttons for various setups, one for tracking, one for dubbing, one for surround etc.; more on those presets later). It also has a sample-rate selection switch and clocking indicators. All recording is done at 24-bit.

The Orion’s 32 channels of analog-to-digital conversion and digital-to-analog conversion, contained in a single rack space, is remarkable, but the feature that blows my mind is that it can record those 32 channels of audio via a single USB cable, up to 24/192.

  Overall the Orion32’s connections include: Analog Inputs are 4 x D-SUB 25 (32 channels). Digital inputs are 1 x fiber optic MADI, 2 x fiber optic ADAT, and 1 x S/PDIF. The analog outputs are 4 x DSUB (32 channels). The digital outputs are 1 x MADI, 2 x ADAT and 1 x S/PDIF. USB 2.0 I/O is via a data stream of up to 480Mbits/192 kHz. Word clock I/O includes the 1 x 10M Atomic Clock input, 1 x Word clock input and 4 x word clock outputs.

  As an all-in-one A/D/D/A with expansive connectivity, the Antelope Orion32 has impressive specifications. On the A/D side, Antelope specs 118 dB for dynamic range, and THD+N at -105db. The D/A converter is spec’d at 118 dB dynamic range and THD+N is -98 dB.

  One of the most incredible specifications is the clocking stability, due to Antelope’s fourth-generation clock with 64-bit DDS, oven-controlled crystal oscillator that puts the stability at <+/-0.02 ppm. Although in our testing we heard no audible latency, Antelope has tested the latency between 1ms-6ms, depending on user settings and sample rate.

  The selectable sample rates are: 32-, 44.1-,48-,88.2-,96-,176.4- and 192 kHz. The Orion32 ships with an Apple/PC control panel that is required to establish your input and output preferences. An Internet connection and a computer are necessary setup items for first use. But the control panel has drag and drop functionality and is very quick to get up and running.

  All this digital horsepower and channel capacity comes in a standard 19-inch rack and weighs a minuscule 6.6 pounds. It is but only 8.6 inches deep.

The setup

  While we have used other multi-track systems via USB port, the sheer volume of the Orion32’s recording ADCs to USB input is what we wanted to check out first. After connecting connected its USB cable to a Macbook Pro 2011, we downloaded the latest version of Antelope’s Orion32 software. Antelope requires an Internet connection on first launch, which prompts you through registration, as well as updates of the firmware. After all the software formalities, it was time to feed some audio to the Orion32.

  For the first test, I routed all of the ADC inputs via the USB to 32 channels of Avid ProTools 10 at 24/96 and hit record. On the back-end, we routed all the channels back to DAC 2 outputs and into a pair of ADAM S3A active studio monitors — all via Mogami balanced cables. When engaging record and hooking up a single mic and preamp for throughput and stability testing, I immediately noticed the lack of input-to-output latency in the system, which always is a concern with native processing systems. The Orion32 passed with flying colors. For the stability check, I left the Orion32 recording for two hours on the internal drive of the Macbook Pro. It did not crash, glitch or hang up in any fashion — even with all the tracks being used. This USB interface is rock solid.

Analog Connection is via DB25 Connectors

  We then scheduled a bonafide recording session with the Orion32. We used two recording setups. One was through our house system and one through the Orion32. The house setup consisted of two Schoeps omni C-6 microphones through the Sirius-XM Sony Oxford digital console’s ADCs and mic preamplifiers, fed into ProTools at 24/48 (the max rate of the Sony).

  The second setup was two Schoeps omni C-6 microphones through two Focusrite 110-A reissue preamplifiers and then into the Orion at 24/96. This obviously was not a pure apples-to-apples shoot out, but I wanted to hear the difference between the 10-year old $600,000 Sony Oxford system vs. a $3,000 multichannel recorder of today.

The audition

  Since we had the option of two monitor playback systems, we decided to have both microphone pairs up during the live performance of Stile Antico, the famed classical choir from the UK. The performance was recorded at our Sirrius-XM main performance room here in DC.

  As we switched back and forth between the two setups, I immediately noticed the difference between the old and the new. Through the Orion32, the first notes from the choir were airy, clean and detailed. The music was very life like. The frequency-extended Schoeps microphones were relayed with abundant detail on the top-end. Every “S” and breath from the choral group was like they were in the room with us. The musical “air” in the room and the low end were so much more accentuated than the audio from the old, very expensive Sony Oxford system, which has its roots in 1995 digital technology.

  In direct comparison, the Oxford sound lacked the live character of the Orion32 and had a harder edge. In one vocal section, my other engineer and I simultaneously turned to each other and said “do you here that?” There was a distinct, gritty artifact in the ultra-high range coming from the house system. But when the Orion32 was punched up, the grit was replaced by a more natural smoothness. The Orion32’s converters are indeed impressive! There have been numerous advances in converter technology since the 1990s, and the sonic improvements in dynamic range, smoothness, accuracy and lower noise are easy to hear through the Orion32. For example, some of the soprano vocals in the choir were popping with energy in the stereo mix — way more than the old Sony system. The live character of the recording cannot be overstated.

Not only did the piano and room come alive — with the myriad overtones — but also the subtle brilliance of the usually dark-sounding Steinway was much easier to pinpoint in the mix.

  After the choir left, we pulled out the Steinway D grand piano and set up a pair of the classic DPA 4011 omni-directional microphones for another listening test. This time, we used the Apple Logic recording software — via the Macbook Pro as the front end to record the audio. To capture all the brilliant nuance of the Steinway, I set the sample rate to 192 kHz and only used the Orion32 test system. The playback was absolutely vivid.

  Not only did the piano and room come alive — with the myriad overtones — but also the subtle brilliance of the usually dark-sounding Steinway was much easier to pinpoint in the mix. The nuance in the dynamics was again, as was with the choir, undeniably improved. The feeling of ‘being in the room’ with the piano was quite evident, as these converters showed no digital impurities of older systems.

  After a couple months of use, I formed a highly positive opinion of this single-rack multichannel unit A/D/D/A interface for the computer DAW. The Orion32 may just be just the perfect, modern recording system — for dedicated, hard-working home studios up to the high-end, audiophile-caliber recording studio. It can deliver a few tracks or a lot of tracks — as clean as you please.

  Another instrument that I always like to bring out for converter testing is a set of chimes, which to my ears has always been difficult to reproduce; the complex overtones that exist north of 10 kHz don’t seem to sound natural on many converters. Through the Orion32, the recordings of my chimes came through without any of the crunchy character usually heard with 16-bit or cheaper recording ADCs.

  Although the Orion32 excels in the high-class caliber of classical and jazz music, it was equally at home on pop music styles. I recorded a Fender Jazzmaster, played through a Fender Vibro-King amplifier, which has Celestion Alnico Blue speakers and fitted with hand-selected 1960’s NOS preamplifier tubes. This is a fantastic-sounding guitar rig and worthy of high-resolution recording!

Orion32's Virtual Control Panel

  I placed a Royer 121 ribbon microphone on one of the three Alnicos and recorded at 24/192, again in Logic. The sound was nearly analog heaven! This electric setup was a great example of the tube sound and how to keep that warmth that you spent so much money to create. In the past, this rig ended up sounding like a cold digital recording when using with older pro systems. Not with the Orion32; the warm character came through, yet the dynamics of the playing were obvious and very precise.

  Overall, I have no real complaints about the Orion32. In general, it was intuitive in all its setup and operation menus. Though there has been Internet discussion about stability issues, the Orion was Mr. Reliable, at least on the Mac, once the latest software was installed.

  The Orion32 has numerous features, including its handy presets. If I owned an Orion32, I would make a custom preset for the routing of a split of the ADC audio back to the DACs and feed them into our Aviom 16-channel headphone mixers — which are used throughout the studio for the guest artists. Another preset could be used as a simple 32-channel ADC/32 USB for live venue multitrack capture. Yet another preset could be an overdub setup. You get the idea. The Orion32 could be all the patch bay you would need to integrate with all your external analog (or digital) processors. Overall, though, the software control panel is just plain slick, and Antelope engineers are constantly updating it.

In my audio recording Utopian world, nothing could beat a quality analog 32-channel mixer, the Orion32 and a new Mac computer. The Antelope Orion32 is definitely worthy of the Everything Audio Network Stellar Sound Award.

  One feature that is missing from the Orion32 is channel-trim adjustment on the individual ADC inputs. The trim adjustment for each channel would enhance its use as a mobile recording rig. Many times, we get splits of a front-of-house feed after the preamps, and we are in a different location than the head mix engineer. In those cases, sometimes all we would need is a small trim — when a channel signal ends up being just a little hot. To be fair, not many computer interface recording rigs have that feature, but I put it on my wish list.

Orion32 In Action At Sirius-XM Studios in DC

  It should be noted that in all our various track allocations for the Orion32, we were never able to make it choke on the Macbook Pro with 8GB of RAM, up to the 24/192 rate. Your results on track count and sample rate would be dependent, of course, on the speed and memory of your CPU.

  Speaking of interfacing the Orion32, I was able to connect to an iPad, via the $28 accessory camera kit; you can connect the Orion directly to it via USB. I wanted to try out this functionality — more for the novelty. I suppose if you really wanted to do serious recording, you could buy the $50 iPad app, called Auria, and actually do a multitrack recording. I've seen some YouTube videos where people have done 24 tracks through the Orion32. I used it with the AudioTools application, which is a pro-level RTA (Real Time Analyzer) accessories bundle for the iPad.

Summary

  The Antelope Orion 32-channel recording interface comes into the market at a price point and size that makes the product a trail blazer. While other companies are still at 16 channels, having 32 channels of A/D and D/A in one rack space is unique. There is something here for every budget.

  And not only is the Orion32 filled with channels, this small audio box has a more powerful I/O connectivity and better sound than some of the more well-known products now being used by the audio recording community. In my audio recording Utopian world, nothing could beat a quality analog 32-channel mixer, the Orion32 and a new Mac computer. The Antelope Orion32 is definitely worthy of the Everything Audio Network Stellar Sound Award.

  Jackson Macinnis is engineering manager for Sirius-XM’s Performance Theater in Washington, DC. He also is a composer, musician and film scorer. 


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