They are very close. Since the Hilo is a 2 channel design the specs are just a hair better. I mean very slight difference. Since the Aurora N has to put more electronics in a smaller space it is tougher to achieve the same spec, but if you heard them back to back I would say most could not tell them apart. Go look at the spec differences... it is very impressive.
Color comes from pushing transformers, Burl AD has transformers but the DA dosnt, in BDA4M chip you can engage transformer optionally if you want color or not engage it if you dont want, and its class A, you cant get more clarity than that..
Many ways to do this. Usually you would use a mixer for the balance and eq for FOH and tap the direct outs to record. However if you are asking to do it all in the box, you can either use the Lynx mixer for sending a low latency mix out, but there is no eq. Or you can run through the DAW if you have super low latency and run the stereo out back to FOH but you would have all the eq. This is a simplified answer, but hope this helps.
Regarding the E44 Lynx, which has 4 analogs in and 4 analogs out, do I connect mic preamps using XLR cables to the analog in D-sub of the E44 and then D-sub out XLR to two monitors to hear what I'm tracking? Will this setup work? Thanks in advance.
That is one way. You can add some safety and convenience in their by adding a monitor controller between the Lynx out and the speakers. This way you have a volume control outside the computer. If your computer ever froze, you can manually turn off the volume to the speakers since sometimes during a freeze a sine/square wave will be on the outputs. Hope this helps.
Hi, I have a Manley Core preamp that I use to record my voice by recording on Cubase 10 via the Lynx Hilo LT-USB converter. Can you tell me how I can best tune the "LINE IN TRIM dbu & dbv" and the "LINE OUT TRIM dbu & dbv" on Hilo? Thank you. P.s. On Cubase I record my tracks at 88Khz 32bit floating and I work the mix totally in the box.
Hello, I would not get technical with it, but dial it in to how you use your preamp. Your preamp has an output fader so you can probably leave it default from factory like 98% of people do. However to go more in depth, if you love your preamp at a regular level and you are getting an average of -18 to -12 in Cubase input meters (close to the bottom of the input fader visually) and you are not peaking. You are good to go. If not, adjust the Lynx input until it does. The opposite scenario would be if you love the preamp driven hard, you might have to turn the Lynx down. Again this can all be adjusted on the output of your preamp so there is probably no Lynx adjustment necessary. The output adjustment would be for a similar scenario but on the output side of things.
Yes, multiple units can be used at once for higher track counts. I suggest a 32ch and 8 ch unit for 48 ch. Later you can always upgrade the 8 ch unit to 16,24, or 32 if you need to go higher.
@@purewaveaudio Lynx may make great converters no doubts about that but Mastering Grade' is just a Marketing buzzword with no real meaning behind it. Just about any high end converter is capable for mixing and mastering applications. Chris-Lord Alge went from Apogee to the Focusrite RedNet system. I know some Mixing and Mastering Engineers even using Motu AVB converters such as the 16A and 24Ai etc. David MixBusTV a Multi Platinum Mixing and Mastering Engineer uses the Motu 16A and 8PRE-ES has his core conveter. I have the Motu 828ES myself that uses the same 32bit ESS Sabre DAC chip found in Apogee and UA Apollos. The specs on the new high end Motu AVB line rivals many converters twice its price range with real world dyanmic range I'd 123db A-Weighed with a total of -110 that even rivals the older Aurora 16. Color is rather subjective as virtually all converters have their own sound based on their own specifications, analog stage circuitry, clocking, quality of components used and the power supply design. Lavry, Meytek, and many others makes great converters. It's a matter of taste and preference.
Eman 08 Yes for sure, there are many options out there with great specs and some with lots of plugins on offer as well like UAD offering. A good point though regarding transparency and what that really means in an interface is more important to some than others. If an engineer is primarily loading files instead of capturing rather that running in and out multiple times through hardware and the da and ad, most people will not even see the cumulative difference it will definitely make between all of the “references” grade converters. Think more sensitive instruments where you are not aiming to have that great “xxx”sound. I had an Apollo that I thought was great until using it with certain source material and I absolutely love the prism unit I sold it to use in its place. I will not say that the prism doesn’t have a sound but the way it consistently renders certain frequencies is the reason I have not changed it. Rme adi f* looks good, the Hilo looks good. You just have to listen to them. 129db dynamic range looks great but depending on the rest of the components in the converter, it may not be as successfully rendering the whole range of frequencies you desire. To each their own.
@@anthonyrock5039 I just bought the ATLAS as I was regretting buying the UAD Apollo X8 as its sound quality, and clocking are not the premium standard I was hoping for. Immediately listening to the prism, I cannot stress enough how amazing the sound quality is in comparison to the UAD.
Hi ..... may I know what do you mean by LM slots are not user installable and also u mention send the product back for upgrades? Sweetwater is selling the Lynx LM-PRE4 module? I find a little confusing regarding the Lynx n future upgrades. For example on Lynx site when we choose: Line I/O:16ins/outs/16 , Mics Pres:0 mic pres.....the configuration of 16 ins/outs are linear (in other words we have two modules with 4 DB25 in line). If you wish to upgrade in future 4 mic pres then the configuration on the 16ins/outs will be in PARAREL (in other words we have 1 module with 4 DB25 in parallel , all 4 DB25s on the first module then the second module goes for the LM-PRE4). So as I understand that is why we have to sent it back to factory so they can exchange the 2 modules that contains 16ins/outs into one module of 4 DB25s in parallel in order to accommodate the LM-PRE4. Is this the reason for sending it back to factory for upgrades?? Thks.
No, As I mentioned to make this unit 1 rack space the ability of self removing LM cards was not possible because there is other internal things that have to be done only by the factory to make it work. So if you configure before you buy, it is built to spec, if you upgrade, you have to send it back, but they do not charge for the install. I see where your thought process is going, but it is not just physical location of devices moving around. As a side note for others... If you are adding mic pres, there is a limitation due to the size of the Pre card. 8 max because you still need an interface weather it has other outputs or not. If you mess around with the configuration you will see that certain options go away when certain configurations are chosen.
@@purewaveaudio I understand that things moves away according to configuration but I think their upgrades leaves people a little confusing. Just as u mention certain option goes away depending configuration....I understand that we still need an interface (as for now).....but Lynx mention will also be an ADAT module coming (not sure when??? its been a while and still nothing) and from their interview people will get an idea of an easy swappable modules process.
@@fenderplus The interface protocol is easy swappable , but LM easy factory swappable . Most people will not be switching out cards on a short time basis. Just once every few years when a configuration of the studio changes.
Color is nice, but not when you need highest transparency of product material. Like he said, that's why we have pre-amps and other outboard gear we can use to color the sound.
Color in converters is subjective. All converters have their own sound. Some people has said the Focusrite Redney converts are very neutral sounding. There are lots of converters out there as there that are all suitable for recording, mixing and mastering. It's just a matter of preference.
I d like to upgrade my RME UCX, do you think Aurora would ? Thx
I have the 32 channel thunderbolt I love it and it does sound amazing even my favorite albums sound like I have never heard them this way.
Can we see a shootout between this and the Ferrofish A38pro?
+1
Hey there! Quick question.. what's the difference between the Hilo converters and the Aurora converters? Thanks
They are very close. Since the Hilo is a 2 channel design the specs are just a hair better. I mean very slight difference. Since the Aurora N has to put more electronics in a smaller space it is tougher to achieve the same spec, but if you heard them back to back I would say most could not tell them apart. Go look at the spec differences... it is very impressive.
Hi,,, Lynx Aurora N sure looks and sound great but have you listen to the SPL Mercury and if so what are your thoughts compare to the Lynxs N?
Hello, I have not had a chance to hear them back to back in the same system.
@@purewaveaudio I work ITB so I'm looking for a good DAC,, I guess Mercury will do
@@StereotacticMusic We have red versions available at this moment. And 1 Black B stock. Contact me if interested. www.purewaveaudio.com/contact/
Color comes from pushing transformers, Burl AD has transformers but the DA dosnt, in BDA4M chip you can engage transformer optionally if you want color or not engage it if you dont want, and its class A, you cant get more clarity than that..
Same for the BAD4M... Funny he replies to others but not to you.
In a live setting, can I record to my DAW while sending a summed mix to my PA system?
Many ways to do this. Usually you would use a mixer for the balance and eq for FOH and tap the direct outs to record. However if you are asking to do it all in the box, you can either use the Lynx mixer for sending a low latency mix out, but there is no eq. Or you can run through the DAW if you have super low latency and run the stereo out back to FOH but you would have all the eq. This is a simplified answer, but hope this helps.
@@purewaveaudio thank you for your reply. Latency will certainly be an issue going through the daw. I think the best option is the mixer route
Love my Aurora n
Regarding the E44 Lynx, which has 4 analogs in and 4 analogs out, do I connect mic preamps using XLR cables to the analog in D-sub of the E44 and then D-sub out XLR to two monitors to hear what I'm tracking? Will this setup work? Thanks in advance.
That is one way. You can add some safety and convenience in their by adding a monitor controller between the Lynx out and the speakers. This way you have a volume control outside the computer. If your computer ever froze, you can manually turn off the volume to the speakers since sometimes during a freeze a sine/square wave will be on the outputs. Hope this helps.
@@purewaveaudio Thank you so much!
If it’s specs are tested at 1k instead of 10k it’s BS, what freq does lynx test?
Hi, I have a Manley Core preamp that I use to record my voice by recording on Cubase 10 via the Lynx Hilo LT-USB converter. Can you tell me how I can best tune the "LINE IN TRIM dbu & dbv" and the "LINE OUT TRIM dbu & dbv" on Hilo? Thank you. P.s. On Cubase I record my tracks at 88Khz 32bit floating and I work the mix totally in the box.
Hello, I would not get technical with it, but dial it in to how you use your preamp. Your preamp has an output fader so you can probably leave it default from factory like 98% of people do. However to go more in depth, if you love your preamp at a regular level and you are getting an average of -18 to -12 in Cubase input meters (close to the bottom of the input fader visually) and you are not peaking. You are good to go. If not, adjust the Lynx input until it does. The opposite scenario would be if you love the preamp driven hard, you might have to turn the Lynx down. Again this can all be adjusted on the output of your preamp so there is probably no Lynx adjustment necessary. The output adjustment would be for a similar scenario but on the output side of things.
Any chance you can daisy chain 2 together if you need 48 channels of I/O?
Yes, multiple units can be used at once for higher track counts. I suggest a 32ch and 8 ch unit for 48 ch. Later you can always upgrade the 8 ch unit to 16,24, or 32 if you need to go higher.
@@purewaveaudio I have an old lynx 8 channel and the new 16n, can i link these two together? anyone knows?
What is your opinion on purchasing an RME converter over a Lynx converter?
Lynx is Mastering Quality. I never heard of anyone using RME for mastering.
@@purewaveaudio I use RME AIO for mastering 😄😂😭 But I'm sure the Lynx sounds better.
@@purewaveaudio Lynx may make great converters no doubts about that but Mastering Grade' is just a Marketing buzzword with no real meaning behind it. Just about any high end converter is capable for mixing and mastering applications. Chris-Lord Alge went from Apogee to the Focusrite RedNet system. I know some Mixing and Mastering Engineers even using Motu AVB converters such as the 16A and 24Ai etc. David MixBusTV a Multi Platinum Mixing and Mastering Engineer uses the Motu 16A and 8PRE-ES has his core conveter. I have the Motu 828ES myself that uses the same 32bit ESS Sabre DAC chip found in Apogee and UA Apollos. The specs on the new high end Motu AVB line rivals many converters twice its price range with real world dyanmic range I'd 123db A-Weighed with a total of -110 that even rivals the older Aurora 16. Color is rather subjective as virtually all converters have their own sound based on their own specifications, analog stage circuitry, clocking, quality of components used and the power supply design. Lavry, Meytek, and many others makes great converters. It's a matter of taste and preference.
Eman 08 Yes for sure, there are many options out there with great specs and some with lots of plugins on offer as well like UAD offering. A good point though regarding transparency and what that really means in an interface is more important to some than others. If an engineer is primarily loading files instead of capturing rather that running in and out multiple times through hardware and the da and ad, most people will not even see the cumulative difference it will definitely make between all of the “references” grade converters. Think more sensitive instruments where you are not aiming to have that great “xxx”sound. I had an Apollo that I thought was great until using it with certain source material and I absolutely love the prism unit I sold it to use in its place. I will not say that the prism doesn’t have a sound but the way it consistently renders certain frequencies is the reason I have not changed it. Rme adi f* looks good, the Hilo looks good. You just have to listen to them. 129db dynamic range looks great but depending on the rest of the components in the converter, it may not be as successfully rendering the whole range of frequencies you desire. To each their own.
@@anthonyrock5039 I just bought the ATLAS as I was regretting buying the UAD Apollo X8 as its sound quality, and clocking are not the premium standard I was hoping for. Immediately listening to the prism, I cannot stress enough how amazing the sound quality is in comparison to the UAD.
Hi ..... may I know what do you mean by LM slots are not user installable and also u mention send the product back for upgrades? Sweetwater is selling the Lynx LM-PRE4 module?
I find a little confusing regarding the Lynx n future upgrades. For example on Lynx site when we choose: Line I/O:16ins/outs/16 , Mics Pres:0 mic pres.....the configuration of 16 ins/outs are linear (in other words we have two modules with 4 DB25 in line).
If you wish to upgrade in future 4 mic pres then the configuration on the 16ins/outs will be in PARAREL (in other words we have 1 module with 4 DB25 in parallel , all 4 DB25s on the first module then the second module goes for the LM-PRE4).
So as I understand that is why we have to sent it back to factory so they can exchange the 2 modules that contains 16ins/outs into one module of 4 DB25s in parallel in order to accommodate the LM-PRE4.
Is this the reason for sending it back to factory for upgrades??
Thks.
No, As I mentioned to make this unit 1 rack space the ability of self removing LM cards was not possible because there is other internal things that have to be done only by the factory to make it work. So if you configure before you buy, it is built to spec, if you upgrade, you have to send it back, but they do not charge for the install. I see where your thought process is going, but it is not just physical location of devices moving around. As a side note for others... If you are adding mic pres, there is a limitation due to the size of the Pre card. 8 max because you still need an interface weather it has other outputs or not. If you mess around with the configuration you will see that certain options go away when certain configurations are chosen.
@@purewaveaudio I understand that things moves away according to configuration but I think their upgrades leaves people a little confusing. Just as u mention certain option goes away depending configuration....I understand that we still need an interface (as for now).....but Lynx mention will also be an ADAT module coming (not sure when??? its been a while and still nothing) and from their interview people will get an idea of an easy swappable modules process.
@@fenderplus The interface protocol is easy swappable , but LM easy factory swappable . Most people will not be switching out cards on a short time basis. Just once every few years when a configuration of the studio changes.
have thunderbolt 3 card ?
No, TB2 is all that is needed.
I have an old lynx 8 channel and the new 16n, can i link these two together? anyone knows?
Depends on the format. Best to talk to lynx with specifics since all the output card Firmware can be different.
I'm referring to the sound quality, not the functionality.
I like colour though :)
Color is nice, but not when you need highest transparency of product material. Like he said, that's why we have pre-amps and other outboard gear we can use to color the sound.
Color in converters is subjective. All converters have their own sound. Some people has said the Focusrite Redney converts are very neutral sounding. There are lots of converters out there as there that are all suitable for recording, mixing and mastering. It's just a matter of preference.
i need a quote
Please contact us directly www.purewaveaudio.com/
The best interface ever is the AXR4 from STEINBERG
The AXR4 is a great interface for its price range. www.purewaveaudio.com/steinberg-axr4t
Lynx A/D definitely has “a sound”.. horses for courses.
🙄🙄🙄Bet money you can not tell the sound of any AD/DA from the last decade no matter the price. 😆✌🏽