Mastering The art of audio mastering is just that: an art. Whether the final delivery format is CD, DVD, Open Reel, Vinyl, Digital Download or Streaming Media, mastering is the last technical and artistic step in the production process.
SoundBlade HD masses all the power and features of Sonic Studio into one complete workstation for mastering, archiving, mixing,憎. Official soundBlade 2.2.1 Build 3448 format ios forum forum 10.10.2 free. Dutch format rar crack app soundBlade 2.2.1 Build 3448 extension phone. 2.2.1 Build 3448 open torrent repack get OneDrive. Sonic Studio's soundBlade editing and mastering憎. 0 AVID HD I O 8x8x8 HD OMNI Apple Mac Pro quot Late 2013 quot 12core 2. 0 Win Mac Torrent Download with keygen crack. III D Euhponix MC Mix x2 UNIVERSAL AUDIO UAD 2 OCTO Sonic Studio soundBlade LE Ver. SoundBlade HD by Sonic Studio is an Audio Plugin Host. . Waves, Native Instruments, ReFx, ReVoicePro, SoundBlade AUDIO CONVERTER. Apogee Symphony I/O. Apogee D/A 16x. Burl. Universal Audio. MASTERING. Akai DD1000 direct-to-disk digital mastering machine. Avalon AD 2077. Lexicon 2400 Time compressor/expander. Panasonic DAT 3900. Sony DAT 55ES. Studer CD Recorder D740.
The art of audio mastering is just that: an art. Whether the final delivery format is CD, DVD, Open Reel, Vinyl, Digital Download or Streaming Media, mastering is the last technical and artistic step in the production process.
While it’s true that great equipment is very important in realizing a project’s full potential, it’s only useful in the hands of an experienced engineer, equipped with the critical listening skills to help create a master that realizes your true creative vision.
We bring professional, unbiased ears, and a fresh, invaluable third-party perspective to each and every project. Our goal is to help our clients end up with the best sounding projects possible, giving your upcoming release a far better chance at being successful.
We encourage clients to attend sessions when they can; that’s one reason we built such a comfortable room here in Jersey City. Hearing your masters play on our full-range reference monitors in our calibrated listening environment may be the best listening experience you’ll have.
Our staff of engineers are dedicated to helping all clients, big and small, and will treat them with equal care, focus, and relentless commitment to the craft. We look forward to working together on your upcoming release.
Vinyl
Vinyl is still a viable way to get your project out to the world. In fact, it has become much more popular in recent years, especially in the alternative and rock world. With the increase in digital downloads and decrease in CD sales, vinyl is one of the best ways for many artists to actually sell their product.
Listening to a vinyl record is a unique experience, and there are some who insist it’s still the best way to listen to music. Similarly, cutting a record is a unique process, and is much different from mastering for a digital medium. Variables such as side length, volume, bass, sibilance, phase between left and right channels need to be taken into account. Knowing how to manipulate a cutting lathe and take all these things into account is critical to a great sounding record. (We work from the Neumann VMS70 lathe.)
There are a couple ways to create vinyl lacquers and acetates. One way is to have us EQ or “master” the audio then use those hi-res digital files we created to cut either acetates or lacquers. Specific adjustments to optimize the audio for the vinyl medium will be applied. This is the most common way when we are mastering the project. If the project is already mastered we can work from the CD audio files or if there is a data file or hi-res archive that’s even better. For the analog purist we have the ability to cut directly from analog tape. We can work off a Studer tape machine with a special head stack to create the proper delay needed to adjust spacing and depth of cut without converting to digital and back.
MFiT
JLM is an approved “Mastered for iTunes” studio. What this means is that Apple has provided us with the proper systems to ensure we are creating MFiT files to their standards. The “Mastered for iTunes” program allows you to submit files at 24-bit resolution and sample rates as high as 96k. (The typical iTunes quality is 16-bit, 44.1k). Please check with your digital distributor to find out if you’re eligible. We can provide you with high resolution masters, either way, in case you would like them for other sites.
The ULN-8 3d is the result of Metric Halo’s 20 year research program into the fusion of digital and analog audio technologies. It is a one-stop shop for all of your audio needs, addressing every requirement with exceptional quality.
Continuing the history of Metric Halo’s award-winning and nominated products, the ULN-8 3d is a 2020 TEC Award Nominee!
Each ULN-8 3d integrates:
- Mastering grade A/D Conversion (8 channels)
- Mastering grade D/A Conversion with analog domain monitor control (8 channels)
- Mastering grade headphone output with dedicated D/A Conversion
- MH ULN-R preamps (8 channels)
- Exceptional ultra-high impedance Guitar/Bass DI inputs (2 channels; shared with Analog 1+2)
- AES I/O (8 Channels)
- All I/O supports 192k
- SMPTE LTC I/O
- MIDI I/O
- 128 Channel x 64 bus mixer (up to 192k)
- Instantiable DSP processing with over 100 plugins
- Integrated analog domain surround-capable Monitor Controller
- Incredibly accurate DPLL clock with ultra-low jitter
- Seamless hardware multi-unit unification over MHLink (mixer, routing and transport)
- MH EdgeBus Card slot with support for AES/SPDIF/MADI/ADAT/TOSLINK/MIDI (depending on card)
- SMUX support for ADAT and MADI
- IR Remote Control support
- Front panel metering and control with dedicated gain knobs
- Bullet-proof recording with the integrated Record Panel
- MIO Console 3d
- MHLink Ethernet connectivity
- USB-C connectivity
Audio conversion is something that is more than the sum of its parts. You can’t simply look at the converter chip and determine how something is going to sound. Excellent audio conversion requires careful attention to detail and the tuning of every element of the entire conversion system; this includes the analog front end, the power system, the clock and the converter chip itself. As all of these interact with each other in nonlinear ways, it is the system that determines the performance, and not any of the individual parts. As any system can be no better than it’s weakest link, it is vitally important that the component you use to capture and render all of your audio is not the weakest link in your system.
The analog converters in the ULN-8 provide mastering grade conversion that “simply gets out of the way.” Metric Halo’s converter philosophy is to come as close to the original analog signal as possible; converters should not color your signal. By accurately reproducing your input, the ULN-8 3d allows you to properly capture the nuance of your sources, whether they be mics, tape decks or classic analog gear.
Accurate conversion means that when you monitor your production, you actually hear what you will deliver - not some approximation with euphonic distortions introduced by your monitoring chain. And if you add euphonic distortion with an analog loop, you can be sure that the results will be captured accurately. In other words, the ULN-8 doesn’t distort the distortion. You choose where and when your signal is processed.
The A/D/A converters in the ULN-8 are DC-coupled to the analog I/O stages so they introduce extremely low phase distortion. The D/A has no low-frequency filtering and may be used to drive DC signals for generating CV signals for analog synths. The A/D converters have an extremely low frequency DC blocking filter that calibrates the input path and removes DC offset, so they cannot be used to capture DC CV signals, but the integrated EdgeCard slot may be used to add a wealth of ADAT connectivity to the ULN-8, which can be used to drive dedicated third-party CV converters.Monitoring is critical to the production process at every stage; you need to be able hear exactly what you are working on. Your monitor chain will be limited by the weakest link in the chain. The ULN-8 3d integrates a transparent digitally controlled analog-domain monitor controller to ensure that you can connect directly to your reproduction chain without having to reduce the fidelity of your signal with an inferior monitor control system.
The Monitor Controller in the ULN-8 3d provides sophisticated monitor control features that are only available in dedicated monitor controllers that paradoxically cost more than the ULN-8 3d. These features include:
- Multiple source selection
- Multiple speaker output selection
- Shared speaker set support
- Per speaker gain and delay
- Per speaker solo/mute control
- Output path calibration support
- Multichannel support from Stereo up to 7.1.4 Surround (Dolby Atmos®)
- Mono fold-down
- Mute and Dim
- Analog domain gain control
- Talkback
- Listenback
- Multiple cue output support
- PFL/AFL integration with the mixer
Each ULN-8 3d includes a high quality headphone amplifier with dedicated D/A conversion (which is the same quality as the primary D/A’s in the system), and digitally controlled analog domain gain control. So you don’t need to add a headphone amp to your system. By default the headphones are configured as a parallel Cue output mult’ed from the Monitor Controller, but you can drive the headphones with an independent mix or you can make them an alternate output for the monitor controller.
In addition to monitoring the mix in your control room, multitrack production requires providing multiple output cues to performers and other stakeholders (such as producers and/or broadcast feeds).The Monitor Control in 3d is enhanced by a sophisticated Output Cue section that provides you with an arbitrary number of output controls. Each cue can be driven from any of the busses in the system, or it can be set to derive its input from the currently selected source in the Monitor Controller (MC).
Since each Cue can be driven by a separate mix bus from the mixer, they are perfect for routing and controlling independent headphone mixes for individual performers.
Cues can be configured to listen to PFL/AFL (or not). So for producers and engineers, the cue can follow PFL/AFL Solo in the mixer while performer and broadcast cues are unaffected by soloing.
Each cue has an independent output path which can be set to any of the MC supported output types. Each cue controller uses the MC engine for its control of routing, gain, delay and output graph processing, so it can do all the things the MC can do.
Cues are not Mixes. Cues are output points with gain and routing controls that can be fed by specific mixes, the current monitor controller source, or a mix of a source and the talkback signal. They serve as named output mults with direct access to associated output gain controls.
Cues form the basis of the routing points for Talkback and Listenback.
Talkback provides the ability to route a specific input to any sub-set of the cues in the system; it also allows you to control the amount that the Cue source signal is dimmed when talkback is active. The Talkback signal is mixed with the selected source.
Listenback provides the ability to route the source that the engineer is currently monitoring through the MC to any sub-set of the cues in the system. This allows playing back a mix of the take to any or all of the monitoring cues in the system without having to re-patch.The ULN-8 3d includes 8 channels of Metric Halo’s renowned ULN-R preamps. These boutique preamps are famous for their pristine, low-distortion, completely unveiled sound. They are not just great for preamps on an interface; they are great preamps, full-stop.
The ULN-R preamp provides up to 90 dB of digitally controlled analog gain in precisely recallable 0.5 dB steps. Each input supports independently switchable P48 phantom power.
The combination of the super transparent ULN-R preamp and Metric Halo’s exclusive insertable Character Component Modeling Processing provides flexibility and sound quality that’s unavailable on any other interface. You can transition from a wire-with-gain pre to a gooey tube pre or anything in between; every input can have the right Character for the sound you desire.
The preamp input path on the ULN-8 always has preamp gain control and has DC blocking for the phantom power, it also supports input levels of up to +20dBu with no fidelity reducing pads, so you can handle high SPL with sensitive mics as well as you can handle extremely low SPL with insensitive mics (like ribbon mics and low output dynamics).
In all cases the input noise of the mic pre is incredibly low, providing an EIN of -130.50 dBu (@ 60dB of gain) with a mic that has a 150 Ω source impedance.
The high maximum input level of +20dBu also means that you can use the mic pre input path as an alternative line input path. This feature can be used with the monitor controller to access an additional 8 selectable analog inputs as external sources.
The ULN-8 3d input path features an integrated analog send (pre A/D converter) which allows the unit to be used as remote controlled analog preamp. The preamps also offer a send/return mode where the amplified signal from the preamp is sent to the analog send and the line input is used for the return to the A/D converter - this allows you to patch analog domain processing between the preamp and the converter. Finally, you can use the analog send to provide the pre-amplified signal to a backup recording or mixing system; this is a fully analog split that represents a true backup signal with no digital dependencies.ULN-8 3d includes sophisticated digital signal processing engine that is only limited by your imagination. The mixing engine and audio router built into each unit is capable of mixing 128 inputs to 64 busses at all sample rates (up to 192k) with every gain interpolated on a sample-by-sample basis. This custom dedicated mix engine utilizes the equivalent DSP power of 30 of the SHARC DSPs that were used in our previous generation product.
Each ULN-8 3d also includes a programmable DSP that supports the instantiation of arbitrary DSP processing plug-ins; this is used for insert processing in the mixer and for output processing in the Monitor Controller. ULN-8 3d includes over 100 plugins that you can use for low-latency monitoring, live mixing or in production. The DSP in 3d has 1GB of DDR3 RAM available so long delays and multiple reverbs are not a problem.
The +DSP license included with every unit provides Metric Halo’s unique Graph insert which allows you to build your own signal chains with arbitrary phase compensated routing between plugins. You can insert a Graph in any insert slot in the mixer and as output processors in the Monitor Controller.
The 3d system enhances the processing engine included in each unit by routing between multiple units and utilizing the resources of all units attached via MHLink as one unified system. Your DSP and mixing resources are pooled. This allows you to seamlessly grow your system one unit at a time - all the way up to 128 channels of simultaneous input and output! All your inputs (including inputs from the computer) are available as sources in the mixer and monitor controller. All your outputs (including returns to the computer) are available as destinations for the mixer, monitor controller, cue system and direct outs.
Every 3d-based unit includes an MH EdgeBus Card slot to provide additional flexibility in configuration. The EdgeBus is a programmable high-speed plugin slot that accepts a variety of audio interfacing cards. Its programmable design and full access to all the audio clocks and power rails allows for the creation of a wide variety of digital, analog, processing and interfacing plugin modules.
The currently available modules include (with I/O channel counts listed):
- AES/SPDIF EdgeCard (4 in/4 out)
- DB-25 AES EdgeCard (8 in/8 out)
- SPDIF + MIDI EdgeCard (2 in/2 out + MIDI I/O)
- SPDIF + 2x ADAT EdgeCard (18 in/18 out)
- 2x SPDIF + 2x ADAT EdgeCard (20 in/20 out)
- 4x ADAT EdgeCard (32 in/32 out)
- 2x MADI Optical EdgeCard (128 in/128 out)
- 1x MADI Optical + 1x MADI Copper EdgeCard (128 in/128 out)
- 4x MADI Copper EdgeCard (256 in/256 out)
The EdgeCard modules are field installable/swappable and the hardware automatically detects the type of the installed card. All EdgeCard audio channels are first class I/O and may be used just like the built-in channels; all I/O is available simultaneously.
You can use EdgeCards to interface with other systems, get additional I/O via third-party A/D/A converters, provide ingest paths for digital recorders, or to patch into your existing digital console (e.g. via MADI interfacing).
The high-channel counts achievable via MADI interfacing means that you can us your ULN-8s as remote-controlled headamps, side car processing, or as a multitrack recorder for your console.
The combination of MH EdgeBus Cards and MHLink provides built-in, low-latency format conversion between multiple digital audio formats. Within one box, you can convert from any of the input formats supported by the box and it's installed EdgeCard to any of the output formats supported by the box and card.If you need to convert between formats supported by multiple EdgeCards you can simply MHLink two boxes with different EdgeCards to achieve the conversion.
So things like Analog ⇆ MADI, or MADI ⇆ AES, or AES ⇆ ADAT can all be accomplished without any third-party converter devices.By implementing all the functions of a complete audio front end in a single package, the ULN-8 is able to provide unprecedented power and quality in a lightweight, low-power consumption, single RU hardware unit. This integration provides significant benefits to the owner in the form of reduced cabling (lower cost, weight and less opportunity for failure), weight, power consumption, and cost, while at the same time providing unprecedented performance.
In 3d, the command architecture, conversion and DSP processing systems were all designed in concert with the clocking and transport architecture, resulting in a system with superior sound compared with external clocking systems costing tens of thousands of dollars.
The MHLink routing and transport architecture allows you to build a system with units up to 100 meters apart with no added latency. Audio and clock transport with up to 256 channels of audio (at 192k) is accomplished with light-weight, inexpensive, commodity Cat 5e cabling, that is available virtually anywhere on the planet 24/7. And yet, the entire system still appears to the host computer as a single unified interface.
What does this integration mean to you?
Rather than pay for duplicate case work, duplicate power supplies and redundant interconnects, you get a product where all the components are engineered to work together and everything you pay for is dedicated to providing functionality towards the execution of your task.
The benefits don’t stop there. By tuning all the functional blocks of the system and removing external interconnects, the ULN-8 provides enhanced performance and reduced chance of failure from external influences. Connectors and cables are all potential sources of failure and interference. By eliminating preamp to converter and converter to interface cabling, these sources of cost and potential failure and interference are also eliminated. Internal operating levels within the box are tuned for optimal performance.
The ULN-8’s integrated design provides maximal performance with a minimum use of material and power.
- Exceptional, Best–In–World, Archival Grade Converter Quality
- Exceptional, Boutique–Quality Mic Preamps
- Flexible, Integrated Analog-Domain Monitor Controller
- Universal Sample Rate Support
- Analog, AES, Ethernet, USB and EdgeCard Interfacing
- Rock Solid Stability: Mature, Real-World-Tested Firmware, Software and Drivers
- Hardware-based MHLink multi-unit unification network
- Instant Access to Tactile Controls
- Fully digital control for total recall, remote control and control surface support
- Comprehensive Precision Metering — so you always know what is going on
- Works with or without a Computer
- Metric Halo’s Exclusive instantiable Character — from ultra clean to nice and gooey
- Integrated ultra-low-latency instantiable processing with plenty of DSP power to run it
- Most Compact, Lowest Weight, Lowest Power and Lowest Price in its Class
When you’re done recording, use the ULN-8 in the studio as an extremely high quality audio interface to transfer your tracks into a DAW. You’ll be amazed at the sound of this box! And weighing only 6 pounds, and a little larger than a laptop, you can be the first one out of the gig, with no hassle.
The ULN-8’s archival grade inputs and outputs, coupled with Metric Halo’s exclusive Character processing, provide flexibility and sound quality unavailable on any other interface. You can transition from a wire-with-gain to a gooey tube pre with one click of the mouse, and every input and bus can have the right character for the material you are recording.
The ULN-8 is the only unit in its class with an on-board processing engine that supports fully instantiable processing, allowing you to use Metric Halo’s world-renowned signal processing effects without sacrificing your computer’s processing power or introducing any additional latency in your monitor path. From MIOStrip to HaloVerb, the ULN-8 comes with a full +DSP license that provides all the basic production processing you need — and more. And remember, this one rack space audio interface has the ability to run entirely from any DC power source (16V-24V), making it truly and completely mobile.
A unique feature of the Metric Halo 3d system is that MH’s interfaces work as well as a group as they do individually. Mix and match ULN-8 with LIO-8 3d, 2882 3d, and ULN-2 3d units to create a system that meets your needs for track count and preamp power. Adding a unit to the system automatically increases the DSP power of the system, so that your DSP always scales with your I/O. Break your system up for small gigs when playing out or add the units of your mates to build a huge system when required. By standardizing on the 3d platform, each member of the band can have ultimate quality while working alone, and the band can have huge track counts when playing together. You can’t lose!Flexible signal routing and sophisticated patch and preset management systems as well as a comprehensive set of front panel controls are also featured in the ULN-8. The ULN-8’s front-panel controls allow the unit to function equally as well as a stand-alone Mic Pre/Converter system. In standalone mode, the ULN-8 operates with the converters directly routed to and from the AES I/O, and the analog domain sends allow purely analog operation of the preamps.As a standalone converter, the ULN-8 provides a 24bit/192kHz eight channel front-end with 8 world-class boutique-quality ULN-R mic pres for any recording system. It also functions seamlessly as an analog monitor controller, making it ideal as a digital headphone amp and studio monitor controller.
The ULN-8 supports a variety of applications. For studio recording, it provides the highest quality interface to a DAW, offering sound processing or simple file transfer between workstations. Its exceptional sound quality makes it perfect as any studio’s primary analog to digital conversion and monitoring chain. Songwriters and engineers can use the ULN-8 to record and edit on the road, in the hotel, while traveling, or anywhere that inspiration strikes.The ULN-8 is suitable for broadcast applications, too. It offers instant playback of 8 individual stereo sends for music cues or sound effects, or smaller numbers of surround stems. The compact package and portable power features mean that the unit can go anywhere users need to work, and make on-site fixes or edit location recordings without the need to send files back to the studio, saving valuable time before air.
In the live performance arena, in addition to operating as a remote recorder for archiving performances or to play out backing tracks and musical cues, the ULN-8 can operate as a soft-synth mixer and I/O interface.
- 8 Channels of Archival Grade 192k A/D converters
- Exceptionally flat, low-distortion A/D conversion
- DC-coupled for ultra-low phase distortion
- 8 Channels of Archival Grade 192k D/A converters
- Exceptionally flat, low-distortion D/A conversion
- DC-coupled for ultra-low phase distortion
- 2 Channels of Archival Grade 192k D/A converters with integrated headphone amp
- Same high-quality DC-coupled conversion
- Dedicated, digitally controlled high-power headphone amplifier
- 8 Channels of Exceptional Remote Controllable Ultra-Low-Noise Clickless Preamps
- Custom designed Digitally Controlled analog preamps
- Metric Halo Zero-Cross switching technology for clickless operation
- Discreet gain and trim stages for ultra-high headroom operation (supports +20 dBu input)
- Analog Send/Return architecture for analog access to preamps (pre A/D)
- Analog domain sends from preamps (mult’ed pre-A/D)
- Analog only preamp operation capable (with fine trim)
- Integrated switcher to allow insert of external analog processing pre-A/D
- 2 Channels of Exceptional DI inputs suitable for instrument or turntable inputs
- Ultra-High-Z for no instrument loading
- Balanced or unbalanced operation
- Jumper configurable pre-trim gain
- Integrated Surround Monitor Controller
- Provides switching between any set of user specified sources (Host, USB, AES, Analog, ADAT, MADI or Mix)
- Analog domain gain control for monitor output from Front Panel or computer
- Supports input and monitor paths from Mono to 7.1.4
- 8 Channels of 192k capable AES Inputs and Outputs
- Available as computer I/O or direct routed I/O for converters
- Support full channel count at all sample rates
- Professional interfacing
- Comprehensive Front Panel Controls
- Full support for standalone converter and preamp operation
- Sample Rate selection
- Clock source selection
- Input source selection
- Phantom power control
- Tactile Control of Input and Output gains
- Gain level indication with MH Digital Dual Vernier Technology
- Numeric gain level indication while changing gains
- Tactile Control Headphone level
- Tactile Control Monitor Controller gain (mono - 7.1)
- Preset recall
- Multichannel gain linking control
- Monitor Controller control surface
- User-controllable brightness
- User-controllable knob sensitivity
- Full support for standalone converter and preamp operation
- Comprehensive, High Resolution 15 Segment Precision Front Panel Metering
- Real, functional metering for analog inputs and outputs
- Unique ‘Meter on knob’ functionality
- Multi-color signal level/presence metering for AES inputs and outputs
- Comprehensive Clocking (Internal, Word Clock, AES)
- Dedicated internal clock sources for all rates
- Dedicated MIDI I/O
- MIDI Input and Output on standard DIN connectors
- MIDI transported to computer
- Dedicated SMPTE LTC I/O for Timecode without sacrificing any audio channels
- Properly conditioned and band-limited SMPTE I/O on TRS balanced connections
- Available to any CoreAudio application as audio streams
- Directly routable to Record Panel SMPTE decoder
- Rock-solid, time-tested fifth-generation software and drivers
- Integrated Mixing and Deep Instantiable DSP Processing (Includes Full +DSP License)
- Fully configurable multibus mixer with surround support (up to 7.1)
- Full Send/Return architecture
- Ultra-low latency, on-the-metal monitoring
- Insert model for inserting zero-latency plugins
- Insertable +DSP plugin graphs for configurable processing
- Insertable graph macros for complex, pre-configured processing
- Includes over 100 high-quality processing plugins, including:
- MIOStrip — channel strip processing
- Dynamics (Compressor and Limiter)
- Transient Controller
- EQ (6 band and 12 band)
- HaloVerb
- Signal Processing primitives
- Crossovers
- and much more…
- Per-channel and Per-bus Insertable Character™
- MHLink Interfacing between boxes
- Ethernet Interfacing to computer with MHLink Audio
- Supports Mac OS X v. 10.8.5 and newer
- Bidirectional Control Surface Support
- Integrated Front Panel Tactile Controls
- Eucon Control Surfaces
- Mackie Control Protocol Control Surfaces
- Integrated Multichannel Recorder (Record Panel)
- Multichannel, multi-box tape-style high-performance recorder
- Exceptional Stability and Sound Quality
- Realtime waveform display
- Extensive File Format support (BWF, WAVE, CAF, AIFF, SD2)
- BWF time-stamping from TOD or LTC (any input channel or dedicated SMPTE input)
- Support for basic BWF metadata
- Support for limiting record file size and seamless file breaking
- Seamless manual file breaking (with time-stamping)
- Support for mirrored recording (recording to multiple drives at once)
- Pre-roll/Pre-record
- Dreamcatcher™ Level Based trigger
- Timecode based trigger
- Monophonic and polyphonic recording (determined by source strip width)
- Strong
- Light weight
- Scratch and fingerprint resistant
- Smooth contours for snag-free transportation in a gig-bag
- Rack-mountable with included rack-ear kit
| Rails | |
| Preamp Rails | ±15.8 Volts |
| Analog Rails (low power) | ±9.9 Volts |
| Analog Rails (high power) | ±12.6 Volts |
| Phantom Power | 48 ± 0.1 Volts |
| Max Phantom Current Per Mic | 10 ma |
| Maximum I/O Levels (Balanced) | |
| Peak Line Output @ 0 dBFS (no jumper/low power) | +18.5 dBu |
| Peak Line Output @ 0 dBFS (output jumper/low power) | +22.0 dBu |
| Peak Line Output @ 0 dBFS (output jumper/high power) | +24.5 dBu |
| Analog Send Max Output | +21.5 dBu |
| Mic Pre Max Input | +20 dBu |
| Line In Max Input | +24.5 dBu |
| Output Impedance | 5 Ω |
| Monitor Controller | |
| Nominal FS output (Balanced) Output Jumper Off | -19.0 dBu |
| Nominal FS output (Balanced) Output Jumper On | -12.0 dBu |
| Maximum Output | Same as Line |
| Gain Range | -96 dB to +30 dB |
| Gain Precision | ±0.05 dB |
| Gain Step | 0.5 dB |
| Mic Pre Input + ADC | |
| Input Impedance | 3.3 kΩ |
| Dynamic Range (-60 dB, flat 0-22.05 kHz, typ) | 115 dB |
| Dynamic Range (-60 dB, A-weighted, typ) | 118 dB |
| Noise Floor (flat 0-22.05 kHz, typ) | 115 dB |
| Noise Floor (A-weighted, typ) | 117.9 dB |
| Gain Range | -22 dB to +91.5 dB |
| Gain Precision | ±0.05 dB |
| Gain Step | 0.5 dB |
| THD D/A/A/D loop @ -12 dBFS | 0.0007 % |
| THD D/A/A/D loop @ -12 dBFS +12 dB Gain | 0.0015 % |
| THD D/A/A/D loop @ -0 dBFS | 0.0023 % |
| Crosstalk @ 1kHz | -110dB |
| IMD 1k component (19 kHz/20kHz @ +8dBu) | -104 dBu |
| EIN @ 60 dB Gain (150Ω Source Impedance) | -130.50 dBu |
| EIN @ 60 dB Gain (0Ω Source Impedance) | -133.25 dBu |
| Analog Send Calibration (ADC = 0 dBFS) | +21.5 dBu |
| Phantom Power (Switchable Per Channel) | +48 Volts |
| Mic Pre + ADC Frequency Response | |
| +0/-0.1dB @ fs = 44100 Hz | 8.9 Hz - 20.5 kHz |
| +0/-1.0dB @ fs = 44100 Hz | 2.9 Hz - 21.0 kHz |
| +0/-0.1dB @ fs = 96000 Hz | 8.9 Hz - 43.9 kHz |
| +0/-1.0dB @ fs = 96000 Hz | 2.9 Hz - 45.4 kHz |
| +0/-0.1dB @ fs = 192000 Hz | 8.9 Hz - 42.1 kHz |
| +0/-1.0dB @ fs = 192000 Hz | 2.9 Hz - 64.7 kHz |
| 5° low-end in-channel phase deviation point | 20.0 Hz |
| Inter-channel phase 0 Hz - 20 kHz | < ±0.05° |
| Crosstalk from SMPTE Input | < -142 dB |
| Line Input + ADC | |
| Input Impedance | 10 kΩ |
| Dynamic Range (-60 dB, flat 0-22.05 kHz, typ) | 115 dB |
| Dynamic Range (-60 dB, A-weighted, typ) | 118 dB |
| Noise Floor (flat 0-22.05 kHz, typ) | 115 dB |
| Noise Floor (A-weighted, typ) | 117.9 dB |
| THD D/A/A/D loop @ -12 dBFS | 0.0005 % |
| THD D/A/A/D loop @ -0 dBFS | 0.0015 % |
| Crosstalk @ 1kHz | -127 dB |
| IMD 1k component (19 kHz/20kHz @ +8dBu) | -104 dBu |
| Gain Range | -12 dB to +31.5 dB |
| Gain Precision | ±0.05 dB |
| Gain Step | 0.5 dB |
| Line Input + ADC Frequency Response | |
| +0/-0.1dB @ fs = 44100 Hz | 5.7 Hz - 20.5 kHz |
| +0/-1.0dB @ fs = 44100 Hz | 1.8 Hz - 21.0 kHz |
| +0/-0.1dB @ fs = 96000 Hz | 5.7 Hz - 43.9 kHz |
| +0/-1.0dB @ fs = 96000 Hz | 1.8 Hz - 45.4 kHz |
| +0/-0.1dB @ fs = 192000 Hz | 5.7 Hz - 42.1 kHz |
| +0/-1.0dB @ fs = 192000 Hz | 1.8 Hz - 64.7 kHz |
| 5° low-end in-channel phase deviation point | 10.7 Hz |
| Inter-channel phase 0 Hz - 20 kHz | < ±0.05° |
| Crosstalk from SMPTE Input | < -142 dB |
| Input Processing | |
| M/S Decode | Instantiable |
| Parametric EQ | Instantiable |
| Dynamics | Instantiable |
| Limiting | Instantiable |
| Character | Instantiable |
| Transient Control | Instantiable |
| Reverb | Instantiable |
| Delay | Instantiable |
| Nearly Infinite Combinations via +DSP | Instantiable |
| Output Processing | |
| M/S Encode | Instantiable |
| Parametric EQ | Instantiable |
| Dynamics | Instantiable |
| Limiting | Instantiable |
| Character | Instantiable |
| Transient Control | Instantiable |
| Reverb | Instantiable |
| Dither | Instantiable |
| Mix Fold-down | Instantiable |
| Signal Generation | Instantiable |
| Nearly Infinite Combinations via +DSP | Instantiable |
| Front Panel | |
| Indicator LEDs (Bicolor) | 495 |
| Meters | 16 |
| Segments per Meter | 15 |
| Channel Encoder Knobs | 8 |
| Encoders Have Shaft Push Buttons | Yes |
| Monitor Controller Encoder Knobs | 1 |
| Monitor Controller Mute | Yes |
| Monitor Controller Dim | Yes |
| Indicators Per Encoder | 16 |
| Sample Rate Indicators | 6 |
| Clock Source Indicators | 4 |
| AES Clock Source Indicators | 4 |
| AES Lock Indicators | 4 |
| AES Input Signal Indicators | 4 |
| AES Output Signal Indicators | 4 |
| System Lock Indicator | 1 |
| Firewire Indicator | 1 |
| Front Panel Modes | 14 |
| Headphone Output (Dedicated DAC) | TRS Stereo |
| DI Inputs (2) | TRS Balanced |
| DI Input Impedance | 10 MΩ |
| DI Input Fixed Gain (Jumper Selectable) | 0/10/20 dB |
| DI Input Variable Gain | -12 dB to 31.5 dB |
| Power Switch (Jumper Defeat-able) | Toggle |
| Back Panel | |
| MIDI Connectors (In and Out) | 5-Pin DIN |
| SMPTE Connectors (In and Out) | Balanced TRS |
| Word Clock Connectors (In and Out) | 75Ω BNC |
| AES Connector (8 Channels In and Out) | DB-25 |
| AES Connector Pinout | Tascam/Digidesign Digital |
| Mic Input Connector (8 Channels) | DB-25 |
| Mic Input Pinout | Tascam/Digidesign Analog |
| Line Input Connector (8 Channels) | DB-25 |
| Line Input Pinout | Tascam/Digidesign Analog |
| Send Output Connector (8 Channels) | DB-25 |
| Send Output Pinout | Tascam/Digidesign Analog |
| Line/Monitor Output Connector (8 Channels) | DB-25 |
| Line/Monitor Output Pinout | Tascam/Digidesign Analog |
| Line/Monitor Mult Output Connectors (Analog 1/2) | TRS Balanced |
| MHLink Connectors (2) | Transform coupled, Gigabit Ethernet RJ45 |
| USB Connector | USB-C |
| EdgeBus Slot | Accepts MH EdgeCard expansion cards |
| Power (Un-switched) | 2.1mm Coaxial |
| Power (Switched) | 4-Pin XLR |
| Security Slot | Kensington |
| Software | |
| Driver | macOS CoreAudio |
| Required macOS version | 10.8.5 or newer |
| Architectures | Intel (64-bit) |
| MIO Console 3d | Included |
| Record Panel | Included |
| LTC Decoder | Included |
| Mixer | Included |
| +DSP License | Included |
| Power | |
| Voltage | 14v - 24v |
| Power | 32 Watts |
| USB Bus Powerable | No |
| PoE Powerable | No |
| External Supply (Input) | 100-240VAC |
| External Supply (Max Input Current) | 1.2 A |
| External Supply (Output) | 18 VDC |
| External Supply (Max Output Current) | 2.0 A |
| External Supply Connector | 4-Pin XLR |
| Case | |
| Material | Powder Coated Aluminum |
| Fasteners | 3mm Phillips Head |
| Weight | 6 lbs |
| Weight | 2.7 kg |
| Dimensions | 17' x 13' x 1.72' |
| Dimensions | 432 x 330 x 44 mm |
| Rack Ears (included) | Powder Coated Steel |
| Rear Rack Mounts | Available |
Each ULN-8 includes the following items:
- One ULN-8 unit
- One IEC Power Cord appropriate for your area
- One 18-volt 60-watt world-ready external power supply
- One 12” CAT5e Ethernet Cable
- One 14’ CAT5e Ethernet Cable
- One USB-A to USB-C Cable
- Two Rack Ears w/ fasteners
- Rubber feet
- Configuration jumpers
- Warranty/Registration Card
While all Metric Halo interfaces are multi-purpose, each has characteristics that make it shine in one use or another:
- ULN-8 3d: Our top of the line, archival quality unit. The ULN-8 has the quality and features to handle the most demanding jobs. Perfect for everything from classical recording to the mastering suite, or any user that needs ultimate power and flexibility.
- LIO-8 3d: All the audio quality of the ULN-8, minus the mic pres. Perfect for the editing suite, recording with your own pres or interfacing your analog console. In true MH style, the mics pres can be added in 4 channel groups if your needs change.
- ULN-2 3d: Two channels of boutique quality mic pres in a small package. The ULN-2 is at home in the mastering studio as well as your home studio. Perfect for the discerning recordist who doesn’t require high channels counts but demands high quality and appreciates portability.
- 2882 3d: Eight channels of analog I/O that fits in your backpack. The 2882 is clean without being pristine and packs a lot of power.
Use the following table to see the notable differences between the interfaces.
| Feature | ULN-8 3d | LIO-8 3d | ULN-2 3d | 2882 3d |
| Converter Technology | 2nd Generation | 2nd Generation | 1st Generation | 1st Generation |
| Preamp Technology | 3rd Generation | Optional (1) | 2nd Generation | 1st Generation |
| Analog Technology | 3rd Generation | 3rd Generation | 2nd Generation | 1st Generation |
| DSP Technology | 3rd Generation | 3rd Generation | 3rd Generation | 3rd Generation |
| Box-to-Box | MHLink | MHLink | MHLink | MHLink |
| Computer Interface | Ethernet/USB | Ethernet/USB | Ethernet/USB | Ethernet/USB |
| 44.1k - 48k | √ | √ | √ | √ |
| 88.2k - 96k | √ | √ | √ | √ |
| 176.4k - 192k | √ | √ | D/A & Digital | D/A & Digital |
| Channels of A/D | 8 | 8 | 2 | 8 |
| Mic pres | 8 | 0, 4, 8 (1) | 2 | 8 |
| Gain | 91.5 dB | 91.5 dB (1) | 72 dB | 42 dB |
| Jensen Option | n/a | n/a | √ | n/a |
| Noise floor | 117.9 dB | 117.9 dB | 110 dB | 110 dB |
| Insert points | 8 | 0 (8 sends) | 2 | n/a |
| Dedicated DIs | 2 | 2 | n/a | n/a |
| Metering | 15 Segment Multicolor | 15 Segment Multicolor | 10 Segment Fixed Color | 10 Segment Fixed Color |
| Channels of D/A | 8 (+headphones) | 8 (+headphones) | 4 | 8 (+headphones) |
| Output Control | Digitally Controlled Analog | Digitally Controlled Analog | Analog (Monitor Outs), Digital (Analog Outs) | Digital/Analog hybrid |
| Output Control UI | FP + Computer | FP + Computer | FP Only (Analog) Computer Only (Digital) | Computer Only |
| Monitor Controller | Analog Domain | Analog Domain | Digital Domain | Digital Domain |
| AES Digital I/O | 8 channels (single wire) | 8 channels (single wire) | 2 channels (2) via EdgeCard | 2 channels (2) via EdgeCard |
| Optical Digital I/O | via EdgeCard | via EdgeCard | 8 channels ADAT(3) or 2 Channels TOSLINK | 8 channels ADAT(3) or 2 Channels TOSLINK |
| Wordclock I/O | √ | √ | √ | √ |
| Multipurpose encoders | 9 | 9 | n/a | n/a |
| Tact Switches | 7 | 7 | 2 (snapshot selection) | 2 (Mute & Dim) |
| Gain Control UI | FP + Computer | FP + Computer | FP Only | Computer Only |
| Gain Control | Encoder | Encoder | Switch/Pot | Computer |
| Gain Style | Digitally Controlled Analog | Digitally Controlled Analog | Analog | Digitally Controlled Analog |
| 3d Card | √ | √ | √ | √ |
| Ultra-low Latency Mixer | √ | √ | √ | √ |
| Basic DSP Plugin Bundle | √ | √ | √ | √ |
| +DSP license | √ | √ | √ | √ |
| Number of channels to/from Computer over USB | 12 | 12 | 12 | 12 |
| Number of channels to/from Computer over Ethernet | up to 128 | up to 128 | up to 128 | up to 128 |
| Bus powerable? | No | No | No | No |
| DC powerable? | √ | √ | √ | √ |
| Power Switch | √ | √ | No | No |
| Audio I/O connectors | DB-25 | DB-25 | XLR and TRS | XLR and TRS |
| SMPTE I/O | √ | √ | n/a | n/a |
| MIDI I/O | √ | √ | via EdgeCard | via EdgeCard |
| Dimensions | 17' x 13' x 1.72' 432 x 330 x 44 mm | 17' x 13' x 1.72' 432 x 330 x 44 mm | 13.5” x 8.25” x 1.73” 343 x 210 x 44 mm | 13.5' × 11' × 1.73' 343 x 279 x 44 mm |
| Weight | 6 lbs 2.7 kg | 6 lbs 2.7 kg | 4 lbs 1.8 kg | 4.5 lbs 2 kg |
| Suggested retail price | ||||
| Early Access price | $3195 | $2495 | $1395 | $1595 |
1: 4 or 8 channels of 3rd Generation ULN-R mic pres may be installed as a factory option or at a later time.
2: AES and SPDIF active simultaneously and independently
3: ADAT supports SMUX; operation supports up to 192 kHz with a corresponding reduction in channel count
Computer:
- Any Mac that supports macOS 10.8.5 or newer with a 64-bit Intel Processor
- One of:
- USB port
- Built-in Gigabit Ethernet Port
- Thunderbolt Gigabit Ethernet Adapter
- Thunderbolt Dock with Gigabit Ethernet Adapter
- USB3 to Gigabit Ethernet Adapter
- PCIe Gigabit Ethernet Card
OS:
- macOS 10.8.5 or newer required
Software:
Soundblade Hd 2.2 16-ch. Mastering Workstation Free
- All CoreAudio compliant software is compatible with Mobile I/O, including:
- Cubase
- Digital Performer
- GarageBand
- iTunes
- Abelton Live
- Logic
- Studio One
- Bitwig
- Nuendo
- PreMaster CD
- soundBlade
- WaveBurner
- Pro Tools
- Final Cut Pro
- and hundreds more…