Hello AA, just wondering if you can help with this. I have a legacy DBox which has a superb DAC, but now I want to print the mix through its equivalent DA. Dangerous used to recommend a Lynx Hilo, but I was hoping to be able find as good a quality on the used market, for less than £1K. Considering I picked up the Dbox for under £700, I can’t help thinking that an equivalent AD must be available for similar? Your advice would be much appreciated! Regards J
One thing I can tell you is that the Lynx converters are awesome so if you did go down that route it would be a good one. You could look at the SPL Mercury. This may be a touch above 1k on the used market though.
I have the Burl B16 and I absolutely love it to bits. That Prism though, is awesome. I def think there will be s place for both depending on the situation. I think their differing design philosophies lends them to different needs.
@@AudioAnimalsStudio I been thinking about the other conversation related to the GML 8200 and its lack of stepped knobs leading to recall issues in the mastering process. And my thought went thus... perhaps you could have 2 chains, one going out through the prism converters to only the GML, and then back into the box. The second stage being your current set-up. Do the eq moves on GML first and save that mix. Then send the signal to the second chain as it currently stands, through the burl converters. At the end of the mastering session keep a copy of the track with the GML moves only (The GML-only first-stage master). Thus you will have 3 versions of the mix / master: 1) original unmastered, 2) GML-only first stage master (which will be very clean because its been run through the prism converters), and 3) the final master thats been through the Burl converters and your current set-up. Hopefully any recall won't require changes to the GML settings, but will require changes somewhere else in the chain. So you would use that "first stage" master to do the recall and changes, and thus preclude having to fiddle with the GML in the recall. And technically you could split the signal after the GML. Let the main signal carry on through the chain whilst recording the GML settings only version back through the prism. I know... too much PT and a little convoluted. And also in the ideal set-up you wouldn't necessarily have the GML as the first piece in the process. But dam, that would give an excuse to have the Prism, Burl AND GML pieces whilst resolving the recall problem with the GML :)
@owlmuso this is a good idea and would work in theory. But one issue. If the client makes a small change on the mix and requires the entire mix re-run you have the issue of needing to recall the GML chain too.
@@AudioAnimalsStudio O ja, it wouldn't work for that, dam... *sad face*. O well, it was wonderful to muse. Anyway, thanks for sharing the video, as always
@@owlmusoit would make more sense to purchase the mastering version of the GML. They don’t make the 9500 anymore but they show up used time to time. Price would be cheaper and more sensible than buying two of these high end interfaces with an 8200.
I have an Atlas and I don’t think I’ll ever switch to another brand. Maybe a burl bomber for colour at the end of the chain, but the atlas has a different level of clarity. Being on UAD all these years, my ears feel upgraded with prism, if that makes any sense.
I had a Prism Sound Orpheus that I adored ! I wanted to upgrade to a 16 channels interface for the external gear, I bought a Focusrite Red16 Line, which has all the options on earth that one can dream of. But I can not forget the sweet sound and the quality of the Prism Sound. I'm not a pro engineer, and to get the same options as the Focusrite in a Prism Sound chassis, is out of reach for me. I hope Audio Animals will buy one and make a long, very long review about it !
@@fetti4real I haven't had the chance to check these yet. But I have heard what goes in comes out from a number of people. Which is a similar way I would describe the lynx.
Prism ADA XR's are the best multichannel convertors I've ever used. For tracking/mixing they are unbeatable imho. But DAD is no slouch and they did design the MTRX convertors. Whether you think they are as good as 'real' DAD is up for debate. Without a side by side test, it is impossible to know.
@@AudioAnimalsStudio If you want flavour, BURL can offer that, as you are very aware. Prism was the first time I had the experience of I am no longer hearing the convertor. A bit like the first time you listen to say something like big PMC's, and you struggle to make sense of the fact you are not hearing a box any longer, but just hearing a soundstage projected at some point in space in front of you. If you do go the Prism route, I would think keeping the BURLs would be a good thing. It's a bit like having multiple EQ's sometimes you want a straight wire vibe, sometimes a bit of colour and box tone. But definately do a shoot out, they are amazing products.
@@AudioAnimalsStudio yeah that's what I estimate for a chassis with 24 out 16 in and a comunication cards. Interested to hear your toughts on the unit once you'll try.
Hello AA, just wondering if you can help with this.
I have a legacy DBox which has a superb DAC, but now I want to print the mix through its equivalent DA. Dangerous used to recommend a Lynx Hilo, but I was hoping to be able find as good a quality on the used market, for less than £1K.
Considering I picked up the Dbox for under £700, I can’t help thinking that an equivalent AD must be available for similar?
Your advice would be much appreciated! Regards J
One thing I can tell you is that the Lynx converters are awesome so if you did go down that route it would be a good one. You could look at the SPL Mercury. This may be a touch above 1k on the used market though.
I have the Burl B16 and I absolutely love it to bits. That Prism though, is awesome. I def think there will be s place for both depending on the situation. I think their differing design philosophies lends them to different needs.
I know I'd never get rid of the Burl conversion. Even if it just stays as an additional option. It has a unique sound I've grown to love very much.
@@AudioAnimalsStudio I been thinking about the other conversation related to the GML 8200 and its lack of stepped knobs leading to recall issues in the mastering process. And my thought went thus... perhaps you could have 2 chains, one going out through the prism converters to only the GML, and then back into the box. The second stage being your current set-up. Do the eq moves on GML first and save that mix. Then send the signal to the second chain as it currently stands, through the burl converters. At the end of the mastering session keep a copy of the track with the GML moves only (The GML-only first-stage master). Thus you will have 3 versions of the mix / master: 1) original unmastered, 2) GML-only first stage master (which will be very clean because its been run through the prism converters), and 3) the final master thats been through the Burl converters and your current set-up. Hopefully any recall won't require changes to the GML settings, but will require changes somewhere else in the chain. So you would use that "first stage" master to do the recall and changes, and thus preclude having to fiddle with the GML in the recall. And technically you could split the signal after the GML. Let the main signal carry on through the chain whilst recording the GML settings only version back through the prism. I know... too much PT and a little convoluted. And also in the ideal set-up you wouldn't necessarily have the GML as the first piece in the process. But dam, that would give an excuse to have the Prism, Burl AND GML pieces whilst resolving the recall problem with the GML :)
@owlmuso this is a good idea and would work in theory. But one issue. If the client makes a small change on the mix and requires the entire mix re-run you have the issue of needing to recall the GML chain too.
@@AudioAnimalsStudio O ja, it wouldn't work for that, dam... *sad face*. O well, it was wonderful to muse. Anyway, thanks for sharing the video, as always
@@owlmusoit would make more sense to purchase the mastering version of the GML. They don’t make the 9500 anymore but they show up used time to time. Price would be cheaper and more sensible than buying two of these high end interfaces with an 8200.
I have a prism lyra which I love
I own the titan connected tru hd and is the best sound that I ever have ❤someday I'm going to have the 128 😅
I have an Atlas and I don’t think I’ll ever switch to another brand. Maybe a burl bomber for colour at the end of the chain, but the atlas has a different level of clarity. Being on UAD all these years, my ears feel upgraded with prism, if that makes any sense.
I had a Prism Sound Orpheus that I adored ! I wanted to upgrade to a 16 channels interface for the external gear, I bought a Focusrite Red16 Line, which has all the options on earth that one can dream of. But I can not forget the sweet sound and the quality of the Prism Sound. I'm not a pro engineer, and to get the same options as the Focusrite in a Prism Sound chassis, is out of reach for me. I hope Audio Animals will buy one and make a long, very long review about it !
I love the idea of buying one and using it for all the conversion throughout every studio.
How does this sound vs my Lynx Aurora (n)?
@@fetti4real I haven't had the chance to check these yet. But I have heard what goes in comes out from a number of people. Which is a similar way I would describe the lynx.
Prism ADA XR's are the best multichannel convertors I've ever used. For tracking/mixing they are unbeatable imho. But DAD is no slouch and they did design the MTRX convertors. Whether you think they are as good as 'real' DAD is up for debate. Without a side by side test, it is impossible to know.
I need to do a shootout on all the above to find out.
@@AudioAnimalsStudio If you want flavour, BURL can offer that, as you are very aware. Prism was the first time I had the experience of I am no longer hearing the convertor. A bit like the first time you listen to say something like big PMC's, and you struggle to make sense of the fact you are not hearing a box any longer, but just hearing a soundstage projected at some point in space in front of you. If you do go the Prism route, I would think keeping the BURLs would be a good thing. It's a bit like having multiple EQ's sometimes you want a straight wire vibe, sometimes a bit of colour and box tone. But definately do a shoot out, they are amazing products.
This seems like a real dream converter. What would be the price for your config?
You would be looking at around £18,000+ for the one we want.
@@AudioAnimalsStudio yeah that's what I estimate for a chassis with 24 out 16 in and a comunication cards. Interested to hear your toughts on the unit once you'll try.
Sounds like you’ve already decided.
Haha, yes, I was kind of sold before walking in. I love the idea of one box doing the conversion for an entire studio complex.
I think your heart has already decided, it’s just convincing your head.