While the Antelope Audio team is waiting for you at NAMM 2017 here’s our full program for the show. As you can see not only have a whole lot of good news to share with you, but have managed to bring over some great guest artists for exclusive performances and talks.
Don’t forget you can also win a Zen Tour. Should we really say more?
Check out our NAMM 2017 agenda and see you there!
Our brand new Pro Tools and Native compatible 64-channel audio interface Orion32 HD was the Antelope Audio highlight on NAMM 2017. People were ‘storming’ our booth to see it, touch it and make sure we know how badly they need it in their studio. The newest member of the Orion family didn’t remain unnoticed by the media as well and with great pride we share with you Orion32 HD has just got the SuperNAMM award from ProSound.
Among all new products introduced at NAMM 2017 The editors of Pro Sound News and Mix, representing the NewBay Media Pro A/V Group picked their five favorite ones and Orion32 HD is the first they praise in their awards.
Find the full article here. Thanks to everybody who showed Orion32 HD and Antelope Audio some love on NAMM 2017.
Already bored of solving technical issues over relentless email threads, live chat rooms leaving no paper trail or annoyed by tech support crews who simply don’t care? We bet you are and that’s why we decided to approach our customers in a different way.
Antelope Audio Technical Support now offers remote-access assistance for its customers using free remote control software. With your permission to view and operate with your system, our team of tech support specialists can solve any issues you might have with your Antelope software or hardware and get you back up and running in no time.
We’ve thoroughly tested this service already and users have been happy as puppies not only because it’s the fastest way to deal with tech issues, but because it’s a highly secure maintenance solution.
You can use our Quick Support Module available HERE.
Check out the video interviews with some of the world’s top engineers and producers talking about working with our products.
Bloomfield, Conn., February 9, 2017 — Graham Leftwich has been on the quest for superior sound quality for the past 30 years. A multi-instrumentalist, music educator and audio engineer based in Stamford, Conn. His mobile recording company TheSoundChaser™ specializes in location sound mixing, recording, and mastering.
This past November, he tracked, recorded, mastered and lit the stage for FriendZ World Music concert — a dynamic and highly energetic African drumming and cultural dancing group — using the Antelope Audio Goliath recording interface.
When Leftwich was hired by FriendZ World Music, he knew the Goliath interface would include all the tools he needed. He’s been a fan of the Antelope sound quality and clarity since the introduction of the Orion32. Since then he has pieced together an almost complete Antelope ecosystem adding the Zen Studio, the MP32 and two Satoris. He acquired one of the first Goliaths in the USA and immediently put it to work on this session.
“Using Antelope’s products has given me the flexibility to go seamlessly from studio to stage with the exact same equipment being used during all parts of the project. I am around instrumental musicians every day, and on all types of instruments, and these products deliver the most transparent true-to-source sound,” states Leftwich.
The performance took place at Bloomfield High School and featured a group of ten drummers and five African dancers. Co-producer and manager of FriendZ World Music Stuart “Mookie” Sanders called on Leftwich to record the project.
Leftwich deployed five speciality microphones, connecting them to five of the eight class-A mic preamplifiers on the rear of the Goliath. The microphones included two standup calibration mics at the front of the stage (110° and 7” apart) and three boundary mics were taped flat down on the stage five feet in from the stage lip at left, right and center positions. Musicians and dancers moved over and around the boundary mics adding to the increased detail of the recording. Monitoring with headphones through the Goliath, he captured the multi-hour performance recording at 24/192 kHz.
The vast dynamic range of sounds emanating from the stage, which included deep hypnotic drums, intricate footfall of the dancers, and the swishing of jewelry sashaying across the stage, was a true test for Leftwich and his recording setup: “I was a bit concerned about clipping because the SPL of the drums was very high — but the recording came out perfectly with no overloads. On listening back, the levels were exactly where they needed to be and the Goliath handled everything beautifully.”
Leftwich appreciated the ease of transport and ‘all-in-one’ features of the Goliath, which left no stone unturned in both quality and functionality.
“The Goliath saved me countless hours of set up time for this and other recordings. It has all the routing and everything I need not only for live shows but for mixing and mastering as well. It’s the most powerful piece of gear I own and everything sounded just sounded right through the Goliath.”
The sonic imaging and detail of the Goliath left nothing to the imagination: “With the FriendZ of World Music show, I was able to capture one of my best recordings to date,” he says. “My job was to capture these amazing musicians at their best and most passionate moments. These were complete takes with no edits. It’s as faithful to the real thing as you can get and that’s always my goal: achieving vivid clarity so you feel like you are at the show.”
When Leftwich decamped to TheSoundChaser™ studio, he connected the Goliath into his mastering set up and proceeded to balance and master the recording. Using Presonus’ Studio One in combination with the Goliath’s FPGA-based FX, he blended in a small touch of Antelope’s Auraverb reverb to complement the natural acoustics of the concert hall, lending exactly the color and sonic ambience he was looking for.
Going forward, the Goliath will continue to serve as the cornerstone of Leftwich’s recording set up for both stage and studio. He has also begun to integrate his Orion32 and MP32 into his system for larger recording setups as a stage box feeding 32 channels of 24/192kHz into the Goliath via MADI.
FriendZ World Music will be releasing a live DVD and a CD set of the performance, as well as posting teaser segments to You Tube in the coming weeks.
Between February 22-25 Antelope Audio will be at China’s Guangzhou for Prolight + Sound with a mission – to introduce our brand new portable interface Zen Studio+.
If you have been contemplating going to Guangzhou, now you have quite a reason to do so.
Incorporating the key features that made its predecessor a force to be reckoned with, Zen Studio+ adds Thunderbolt™ connectivity and a powerful range of hardware-based Field Programmable Gate Array (FPGA) effects. Presenting our ever-growing library of effects will be Leong Wai Hou Rice, guitarist, music producer and sound engineer.
We designed Zen Studio+ as the ultimate portable workstation for engineers and musicians who need access to all the tools of the studio on the go.
Packed with extended connectivity, dedicated re-amp outs and a vast library of AFX its made to suit the craziest band, the most impulsive artist or the most demanding engineer and do so in the studio or anywhere on the road. Read more about Zen Studio+ here.
Meet us here:
Booth A66, Hall 5.2, Area A
China Import and Export Fair Complex
Guangzhou, China
“I started using the Antelope Audio 10MX as a reference clock with another device I was using. However, when I heard it on its own I realized I actually didn’t need any other clock in my setup. It has drastically improved the sound coming out of my setup. Ever since I began using the 10MX I found that I need to do less EQ-ing. The signal has become tighter and sharper especially on the lows and the mids.”
Maor Appelbaum is a mastering engineer and musician.
After working as staff engineer for famed record producer Sylvia Massy Shivy at Radiostar Studios, Maor moved to L.A. where he opened his private mastering suite.
Maor has mastered recordings for major international acts such as: Faith No More, Yes, Walter Trout, Eric Gales, Starset, Ill Nino, Dokken, Fates Warning, William Shatner, Gus G, Common Kings, Sepultura, Yngwie Malmsteen, Halford, Fight, Lita ford, Seven The Hardway , Marco Mendoza, Angra, Treponem Pal, Wayne Hussey, Therion, Nekromantix, Butcher Babies, Billy Sherwood and more…
Orion32 HD, the new Antelope Audio kid on the block, was surely a star at NAMM 2017. Few weeks after the event, appraisal for the latest addition to the Orion family still remains high and the device just got the Music Players Best of NAMM Award.
“This 64-channel, premium audio interface, is based on the Orion32 but in addition to upgraded audio specs, ads HDX connectivity for direct connectivity to Pro Tools HD systems. It also features USB 3.0, MADI, ADAT, and S/PDIF, so odds are you’ve got a way to incorporate this interface into your studio, with our without Pro Tools HD at the center of it.”
We are more than glad to see such a great response to our brand new device. Read more about Orion32 HD and pre-order it while it’s still hot here.
“The Orion32 HD has 32-in/32-out analog via DB25, and features the same fantastic clocking, low latency operation, and hardware-based vintage effects as siblings in the product family.”
The Zen Studio+ Giveaway is over. Big ups to all old and new Antelope Audio fans who took part. It’s a great honor to know so many of you are hyped about our brand new audio interface as much as we are.
And now the winner! His name is Andrew Ian Romano and he’ll be among the first to lay his hands on Zen Studio+. Here’s a video of that lucky moment when we picked his name from all contestants.
Keep an eye on Antelope. More surprises are yet to come.
Dr. Giovanni Vindigni, music and audio production of numerous successful international PC & Educational Games, TV, Cinema commercials, documentaries and TV series formats
<< For me, at this time, Orion32+ is world’s best AD/DA converter, very rich in detail, best interface design, inventive and innovative product which is worth the price. >>
“I have an extensive set of analog hardware and software-based tools in my little home-studio.
Now for some weeks I work with the Antelope’s Orion 32+ and I am honored to be a part of Antelope as an endorser.
The Orion 32+ is connected with my RME Madiface. In the same audio computer there is still a RME Raydat implemented, which is connected with my Yamaha DM 2000.
All my analog devices are integrated in my Antelope Orion 32+, which were formerly integrated completely in my full loaded Yamaha DM 2000 which is complemented with many Yamaha-Cards (Adat- and Analog I/O-Cards) and with my Lucid Audio 88192.
First of all I like the very well thought-out Interface design of the Orion32+. I am teaching at universities communication management, among others. Also the topic of hodologie (hand-eye-coordination as a communication part) here I can attest that Antelope made very, very good work. Handling and routing is very simple, very heuristical (reduction of complexity). It is very simple to work with the Antelope Orion 32+.
What is the most important part? The sound quality is awesome. This is above all doubt and gives each setup a very detailed depth staggering and 3-dimensionality.
Furthermore, I was very surprised about the quality of Antelope’s FPGA FX (hardware-based effects). I have tested them with my hardware (Pultecs), my UAD Pultecs and other VST-Pultecs. At Antelope I like the freshness, the detail richness in the frequencies.
In the future I plan to integrate an Antelope Pure2 as a mastering-converter because I plan to buy a Dangerous Music 2Bus+ as a sum mixer.”
This February we made our proper Chinese expo debut on Prolight + Sound, Guangzhou. To make things even bigger we decided to present our brand new Zen Studio+ interface there for the first time. Here’s a video with the Antelope Audio highlights from the show.
Not only did we find the time to meet hundreds of new and old Antelope Audio friends and brush our Chinese up, but managed to get quite a few people already loving the Zen Studio+.
Incorporating the best of its predecessor our new interface added to the table Thunderbolt™ connectivity and our renowned Field Programmable Gate Array (FPGA) effects. Guitarist, producer and sound engineer Leong Wai Hou Rice was in charge of presenting our ever-growing library of effects and people loved it.
See you soon again China!
Working on sessions with complicated routing, multiple mixers and effects that would take hours to re-build? All latest Antelope Audio devices now allow you to save and recall full session settings with this new software functionality.
All control panel options can now be saved and recalled with one mouse click. You can restore Gain levels for every input and output, clock modes, ASIO driver settings plus the AFX and AuraVerb settings with every parameter included. The full session saving function will also let you save and load Mixer and Routing adjustments. Even personalized window positions can be recalled.
This tool can be quite helpful if you need to quickly switch specific setups when rehearsing, tracking, mixing or mastering. The function also comes handy when working with multiple Antelope Audio devices.
64 Channels of Audio over HDX, USB3.0, and Thunderbolt, Accusonic Preamplifiers and FPGA FX Make Antelope’s Premier Interface the ‘Heavyweight Champion’
Santa Monica, California, April 05, 2017 — Antelope Audio, a leading interface company with advanced software control and real-time FX technology, announced its new flagship interface: Goliath HD. Able to serve as the powerhouse centerpiece of any studio, the long anticipated, best-in-class interface makes its debut at the Musikmesse convention, booth E28, hall 9.0, to take place in Frankfurt Germany between April 5 and 8.
Goliath HD, featuring 64 channels of high-quality audio I/O and powerful upgrades including the adaptable new Accusonic preamps, follows the launch of Antelope’s groundbreaking Orion32 HD, which began shipping in early March. Both units offer immense connectivity flexibility, pristine conversion, and a bevy of powerful hardware FX — to both Pro Tools HD and native DAW-based digital recording systems.
“With the launch of Goliath HD, even the most sophisticated studios can access the market leading features and innovations that only Antelope Audio interfaces can provide.
Goliath HD — which works seamlessly in Pro Tools environments — is an uncompromising studio tool that improves overall sound quality while vastly expanding overall functionality. No other interface on the market is able to serve as such a powerful and flexible centerpiece for the modern recording studio. The Goliath HD is a ‘must have’ for both advanced users and prolific recording studios around the world,” says Igor Levin, CEO of Antelope Audio.
Beyond the wealth of features that make it more versatile than any other interface on the market, the Goliath HD also sounds unlike any other interface on the market. For one thing, it sports the lowest total harmonic distortion (THD) available in a multi-channel interface across all 64 of its channels of input and output. Powered by the most advanced ESS chips available and Antelope’s legendary 64-bit Acoustically Focused Clocking (AFC) jitter-management technology and unique noise-lowering techniques, it also sets a new standard in digital conversion clarity. To further refine the recording experience for Pro Tools HD users, Antelope’s proprietary HDX Delay Compensation makes sure any analog or digital input arrives in Pro Tools HD sample accurately in the timeline, enabling unmatched and refined integration of digital sources with Pro Tools HD software.
The Goliath’s flexible digital connectivity allows it to interface with both Mac or PC in a snap via Thunderbolt or USB 3.0. It also boasts dual MADI connections, which are compatible with MADI to Dante Bridge products — allowing users to access all audio streams from anywhere within their Dante-enabled facility. Users can even have an HD and a Native DAW simultaneously interfacing with the Goliath.
The Goliath HD pushes the envelope in the world of input and output, offering a staggering 64 channels of I/O in its modest two-rack space frame. These include 16 of Antelope Audio’s new Accusonic mic preamplifiers, each with individual volume controls, to make multitrack recording a snap with or without any additional outboard gear. Goliath HD’s 32 analog inputs offer an impressive 124db of dynamic range, with its 32 analog outputs going up to 129db of dynamic range. Combine that with mastering grade monitor outputs featuring new technology that boosts dynamic range to a spectacular 132db, and you have access to a new level of detail in your mixes, never before possible in digital recording.
In addition to offering sufficient analog connectivity through its preamps and DB25 connectors, the Goliath HD also offers several useful specialized inputs and outputs that eliminate the need for excess gear around the studio. These include four guitar DI inputs, two transformer-based re-amp outs, a built-in talkback mic, two headphone outs, and a pair of analog inserts. Goliath HD also has a range of connections availability for clock signal distribution: users can synchronize any gear in their system via the Goliath’s AES, MADI, ADAT, S/PDIF, and BNC connectors for use as Loop Sync or standard Word Clock. For the ultimate audio experience, Goliath includes an atomic input for Antelope Audio’s industry-leading 10M and 10MX atomic clocks.
Antelope Audio’s FX processing gives the Goliath HD powerful sound shaping capabilities, along with real-time performance. The new flagship unit leverages a constantly growing library of Antelope’s carefully modeled vintage hardware and modern FX. These new FPGA-based, real-time FX represent both an enormous cost savings and enormous processing power, while requiring no physical rack space. Goliath HD desktop application also delivers comprehensive mixing and routing capabilities, enabling full control of input and output routing as well as submixes and FX processing. Thanks to Antelope’s new Session Presets functionality, all of these details — including specific FGPA FX settings and HDX compensation settings — are instantaneously recallable and sharable. This helps make the Goliath HD a perfect complement to Pro Tools HD based studios, particularly studios with multiple rooms or artists working in several locations. Users can simply dial in a particular session and access it any time or anywhere with a click of the mouse.
Antelope’s new Accusonic microphone preamps further leverage the real-time processing capabilities of Antelope’s FPGA hardware, offering accurate hardware powered circuitry that complements your microphone selection. Combined with the powerful FX signal processing already available in the Goliath HD, the Accusonic microphone preamplifiers extend sonic possibilities during the recording process.
Powerful apps for both IOS and Android allow Goliath HD users to adjust mic preamps and output volumes remotely as they move about their studio or venue. The Goliath HD’s front panel has also been enhanced with monitor and level indicators and a responsive touchscreen that provides easy access to preferences, while 16 convenient push-and-turn knobs allow for Mic Preamp selection and gain control for the Goliath’s built-in preamps.
For more information on this and other Antelope Audio recording interfaces, please visit: http://antelopeaudio.com/products/goliath-hd For more information on Antelope Audio’s real-time FPGA FX and a full list of available FX, please visit: http://antelopeaudio.com/hardware-based-fpga-effects/
From the show floor of MusikMesse in Frankfurt, Igor Levin talks about some of his earlier work with pro-audio companies and the development of his previous well-known audio brand, Aardvark. Later he tackles Antelope Audio’s transformation from just being known for their high-end clocking solutions to being one of the top brands in the audio interface market, with models like the new Zen Studio+, the HD devices and the Orion Studio Rev.2017 series of interfaces.
Enjoy!
Check the interview on the Pro Tools Expert website.
“The Antelope Orion 32+ has been a key new addition to my always evolving DJ setup. The Orion 32+ has been stable in all types of late night, dirty and sweaty club/festival environments and has given us more routing possibilities than any of the other devices we looked at in the market place. I’m now excited to start experimenting with the newest Orion HD and bring an even closer connection to my onstage performances and my studio recordings.”
Richard “Richie” Hawtin is a Canadian electronic musician. Three-time DJ Awards winner, he was an influential part of Detroit techno’s second wave of artists in the early 1990’s. He is best known for his work under the alias Plastikman and for his ENTER.events in Ibiza and around the world. Hawtin is also known for DJing techno sets making use of laptop computers and digital mixing equipment.
In May 1990 Hawtin and John Acquaviva founded the Plus 8 record label, which they named after their turntable’s pitch adjust function and in 1998, Hawtin launched M-nus Records.
Located in St. John’s Wood, London, not far from the famous Abbey Road, are the amazing facilities of RAK Studios. On a nice Spring morning we managed to catch up with engineer and producer Mike Horner for a friendly chat. He shared how the Antelope gear has influenced his work and his eagerness to start working with the new Orion32 HD.
After hearing about the long history of the studio and being guided through its rooms with signature sound and gear we sat in Studio 2 and demoed a 10MX with the brand new Orion32 HD.
Initially skeptical about the benefits of clocking, Mike is now a big fan of our stable drivers and interfaces which managed to ease his workflow. We hope you enjoy his insights.
More Studio Talks London episodes are coming soon. Keep an eye on our YouTube channel!
VCA160 combines classic sound, perfect metering and ease of use. Suitable for both “brick wall” and subtle pushing, it has been carefully modeled to preserve the character in both bad-ass hard knee or gentle low ratio compression. This fast and firm VCA style compressor is great for controlling vocals, bass guitar or individual drums. When used with aggressive transient sounds, like kick drums or bass, the VCA160’s fast response can create a classic punch or “thwack” sound, which has become a unique part of its famously punchy pedigree.
The hardware original behind Tube176 owes its sound to a unique variable-mu dual triod tube, which is long out of production. Now this cult studio piece is brought back to life in the FPGA realm as a powerful fast compressor, which can be used from everything from vocals, guitar solos, bass lines, drums, and even a full mix. Able to smooth the sound or completely flatten it when pushed real hard, Tube176 makes drum transients shine and boosts vocals through a busy mix.
X903 is cult compressor module, which will add just the right amount of analog touch and punch needed. Equipped with smart RMS detection, treating your sound with X903 will result in high-end, yet authentic analog compression and limiting. With the X903’s Negative Ratio capabilities, you can create a dynamic inversion, which pulls back the transient peaks for a unique tugging type of special effect, making the X903 a more realistic sounding compressor, capable of mangling dynamics in great ways.
Gyraf Gyratec X carries the sound of a true tube stereo compressor. Widely used for its speed, and featuring technology used in early limiters this Vari-Mu beast from Gyraf Audio is now more than alive in the FPGA domain. Allowing hard compression of the low end without polluting the sound thanks to smooth high-pass filtering. Perfect for using along with other types of compressors and Antelope’s growing list of Vintage Effects processors. We’re proud to be the first to offer modeling this unit.
Grove Hill Liverpool is a contemporary fusion of 1960s’ finest American and British compression technologies. This compressor sounds just like you like it – rich, wide and thick. Run acoustic guitars through it and you’ll hear them as clear as possible, yet with more full-bodied sound and soul. A great mid range healer it’ll add a desired smoothness to guitar leads, synths and vocals. When applied to bass you’ll achieve big and warm sound, push harder and you’ll add an edge without affecting clarity.
Now it’s your turn. Tell us how excited you are!
In this episode of Studio Talks London bass guitar player Christopher Bolte on the mobile studio wonder that is our FPGA Vintage FX packed Zen Tour interface. Besides a rad bass player Christopher Bolte is one of our most dedicated endorsers. We managed to catch him at the epic London Bass Guitar Show for a quick chat.
Despite the wall of bass all around us at the event, Christopher did manage to share some thoughts about his favorite Zen Tour. It seems our most portable and flexible Thunderbolt and USB interface has made a big place for itself in Bolte’s busy daily work routine as a touring musician. From the conversion to the I/O count and to the FPGA FX we didn’t hear a bad word. See for yourself.
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Thursday, May 11, 2017 — Santa Monica, Calif., May 11, 2017 — Antelope Audio, a leading interface company specializing in realtime FPGA-based vintage FX modeling, announces that its Goliath HD is now available for preorder and that its Orion Studio 2017 is now shipping and available through the company’s network of authorized dealers.
Priced at $6,995, Antelope’s flagship Goliath HD is the culmination of years of research and design, and is able to serve as the powerhouse centerpiece of any studio. The unit features 64 channels of high-quality audio I/O and includes powerful upgrades, including the adaptable new Accusonic preamps — along with a full suite of Antelope’s groundbreaking FPGA-based FX.
Released in April 2017 and priced at $2,595, Orion Studio 2017 features brand new analog to digital converters allowing it to deliver an unparalleled 124 decibels of dynamic range along with Antelope’s groundbreaking suite of real-time FPGA-based FX. Boasting a sleek carbon grey faceplate, the updated interface continues its predecessor’s penchant for extensive connectivity and best in class performance, including 12 high-quality microphone preamps and 16 analog outputs.
A pioneer in the field of analog to digital conversion, Antelope’s Orion Studio 2017 features new A/D conversion chips capable of 124 decibels of dynamic range when converting audio. This allows users to capture every sonic nuance of a performance as faithfully as possible. The combination of these new innovations along with Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) jitter-management technology makes the Orion Studio 2017 poised to deliver industry-leading fidelity in just about any recording application.
Antelope has added several new compressors to its growing library of FPGA-based FX, and Orion Studio 2017 allows for simultaneous use of up to 32 compressors —without sacrificing the 40 EQ instances the hardware offers. Ideal for tracking or mixing, these ultra-realistic realtime FX are handled within the interface itself and do not tax the host DAW system, expanding the sonic palette.
Controllable via a desktop app for Mac or PC, Antelope’s session preset and routing software gives users complete control over signal flow, enabling powerful FX chains, faithful monitor mixes and easy outboard hardware integration. The new Matrix View, available in Orion Studio 2017 and all Antelope Thunderbolt & HDX Audio Interfaces, offers a detailed alternative to Antelope’s classic drag-and-drop routing interface, while the new Session Presets lets users instantaneously recall settings at any time, speeding up sessions and allowing them to be shared across multiple studio rooms or facilities.
Meantime, the 12-built in preamps in Orion Studio 2017 is able to easily accommodate complex multi-microphone setups, while 16 analog outputs offer plenty of signal distribution capabilities for outboard gear integration or summing. Dual-mastering-grade monitor outputs maintain signal integrity all the way to the monitoring stage, while also allowing easy switching between two speaker pairs.
For more information on the Orion Studio 2017, please visit: Orion Studio Rev2017 page
For more information on the Goliath HD, please visit: Goliath HD page
For more information on Antelope Audio’s real-time FX and a full list of available FX, please visit: Hardware-based FPGA FX library
