Trailblazing pro audio manufacturer Antelope Audio is proud to announce
availability of Goliath HD | Gen 3 — advancing its formidable flagship offering as the world’s most powerful
audio interface with brand-new, state-of-the-art AD/DA converters to achieve a stunning 136dB DNR
(dynamic range) on its mastering-grade monitor outputs, offering the most comprehensive connectivity
available anywhere, and also including a complimentary Edge Duo microphone with switchable polar
patterns and realtime mic modelling via its impressive studio partner’s onboard FPGA-powered emulations
and Accusonic mic preamps.
As implied by the ThunderboltTM|USB 3.0|HDX Port|MADI wording boldly blazoned across a facelifted front panel that is sure to stand out in
the most demanding studio setups that the top-tier audio interface itself is duly designed to handle, Goliath HD | Gen 3 works
with any DAW
(Digital Audio Workstation), connecting to Mac and Windows computers
with 192 kHz audio over Thunderbolt, USB 3.0, HDX (available as a
separately-purchasable, optional upgrade), and MADI (to Dante Bridge).
As an Antelope Audio innovation, Goliath HD | Gen 3’s proprietary
HDX Compensation Delay technology ensures that any analogue or digital input entering Pro Tools arrives
as a fully-sample-accurate signal
source, while the company’s custom-created, ultra-fast Thunderbolt
driver delivers 64 channels of simultaneous playback and recording at up
to sub-millisecond (imperceptible) latency. Additionally, a latency-free
direct monitoring environment encompassing four independent
internal mixers, each with 32 assignable inputs, is always at hand.
Having said that, Goliath HD | Gen 3’s
digital and networking connectivity is
established by industry-standard AES, MADI, ADAT, S/PDIF, Thunderbolt,
USB, and HDX connections combining to total an astronomical 346
digital I/O channels, certainly living up to its name!
Needless to say, Goliath HD | Gen 3 also excels in the analogue domain. I/O includes 16 Accusonic mic preamps (M/L 1 through to M/L 16) with
mic modelling support for the included Edge Duo microphone’s 11 emulations — namely, Berlin 47, Berlin 49T, Berlin 57, Berlin 87, Berlin 67, Berlin
M103, Tokyo 800T, Vienna 12, Vienna 414, Oxford 4038, and Sacramento 121R (https://en.antelopeaudio.com/ products/edge-duo/#description );
two analogue INSERTS; and four instrument inputs (G1 through to G4) alongside an additional 16 analogue inputs (ANALOG IN) via two D-SUB 25
connectors (with 124dB DNR), while 32 analogue outputs (ANALOG OUT) over four D-SUB 25 connectors (with 129dB DNR), two transformer re-
amp outputs (R1 and R2), and two independently-assignable headphone outputs (HP 1 and HP 2) bring the total to 38 analogue outputs.
Of course, no studio production project is complete without audio effects; again, as implied by the ZERØ-latency FPGA Engine and AFC
Clocking Technology wording also boldly blazoned across its control feature-laden front panel, Goliath HD | Gen 3 does not disappoint.
Indeed, it includes 36 realtime FPGA (Field Programmable Gate Array) hardware-based effects (https://en.antelopeaudio.com/ products/goliath-hd-gen3-real- time-fx/#fx) valued at over $3,000.00 USD, taken from Antelope Audio’s acclaimed AFX library — namely, AuraVerb
(reverb); BA-31 (mic preamp model); ClearQ (linear EQ); FET-A76 (FET-based compressor); Gyraf Gyratec X (true tube stereo compressor);
PowerEx (in-house expander); PowerFFC (feedforward compressor); PowerGate (noise gate); VCA-160 (VCA-style compressor); VEQ-1A
(vintage tube EQ); VEQ-HLF (Pultec-style high- and low-pass filter); VMEQ-5 (midrange EQ); Stay-Levin (American tube compressor); and x903
(natural-sounding compressor), plus 11 guitar amps and 11 guitar cabinets. Coupled with Antelope Audio’s latest 64-bit Acoustically Focused
Clocking jitter management system, those Class-A mic preamps and audiophile-grade AD/DA conversion combine to deliver top-tier, studio-
quality sound. Saying that, the acclaimed clocking can be distributed to suitably-equipped external studio equipment via Goliath HD | Gen
3’s twin WC OUT (Word Clock outputs) on BNC (Bayonet Neill–Concelman) connectors. Additionally, Antelope Audio’s 10M Rubidium Atomic
Clock can be used for reference (connected on BNC via the dedicated 10M IN input).
Thanks
to those brand-new, state-of-the-art AD/DA converters achieving a
stunning 136dB DNR on its mastering-grade monitor outputs while
retaining the centrepiece 3.5-inch high-resolution TFT
(Thin-Film-Transistor) display with 262,000-colour capacitive
touchscreen panel enabling
immediate access to metering, preferences, gain adjustment, and
mission-critical functionality, the world’s most powerful audio
interface has
become even more powerful, as Antelope Audio’s improved and refreshed Goliath HD | Gen 3 clearly
demonstrates. Designed to handle
working with the most demanding studio setups, it offers the most
comprehensive connectivity the pro audio industry has yet seen... and
heard!
Goliath
HD | Gen 3 is available for purchase — priced at an RRP of $5,995.00
USD, including an Edge Duo modelling microphone — through Antelope
Audio’s
growing global network of authorised dealers (https://en.antelopeaudio.com/ dealers/). Or order online directly from Antelope Audio via the dedicated
Goliath HD | Gen 3 webpage (https://en.antelopeaudio.com/ products/goliath-hd-gen3/), which also includes more in-depth information.
Explore Goliath HD | Gen 3’s full FPGA FX library here: https://en.antelopeaudio.com/ products/goliath-hd-gen3-real- time-fx/#fx
About Antelope Audio (www.antelopeaudio.com)
Antelope Audio is
a leading manufacturer of high-end professional audio equipment.
Founded in 2004 and reinventing the industry with its flawless master
clock technologies and
versatile multi-channel interface solutions, the company has been
steadily expanding its portfolio over the years under the guidance of
visionary engineer and CEO Igor Levin. Antelope
Audio’s products offer the best of both analog and digital technologies.
Among its most recent innovations are compact interfaces with discrete
mic pres, FPGA-based FX plug-ins for all
DAWs, and next-generation modeling microphones.These are distributed
through Antelope Audio offices in Europe, the Americas, and Asia, and
highly acclaimed by users all over the
world.The company’s customers include GRAMMY® award-winning sound engineers, top-tier producers, world-class artists, and some of the most renowned, recording, mastering, and
post-production facilities around the globe.
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