3rd Power CEO Jamie Scott playing the Dream Weaver in full bore, hot rodded Plexi mode
3rd Power CEO Jamie Scott playing the Dream Weaver in full bore, hot rodded Plexi mode (view less)
Aurora 16 Variable Trim Model from Lynx
The Lynx Aurora A/D Converters from Lynx Studio Technology are some of the world's best Analog to Digital Converters, renown for their incredible wide-open clarity, and stunning quality. In this video, the Aurora's advanced routing capabilities, in regards to the Analog and Digital Inputs/Outputs, are specifically highlighted by SoundPure's Pro Audio Expert Doug Wessling. As Doug mentions in the video, each different studio setting, whether it be at home or in a professional environment, comes with it's own individual needs and limitations, but regardless of your setup, the Lynx Aurora Converters provide universal flexibility to work with whatever system you have running. The Lynx Aurora Converters come in 8 channel or 16 channel versions, offering stellar audio quality with 192 KHz, 24-bit mastering quality A/D and D/A conversion, that far exceed the quality of the competing converters in it's price range, as well as most more expensive conversion systems. Acclaimed for it's accuracy, detail and transparency, the Lynx Aurora A/D Converter can truly be used in any setup, including on-location recordings. Just about every session we have done here at SoundPure, has been through the fantastic Lynx Aurora Converters. Call us today to talk to an expert about how these outstanding converters can work for you, or if you have any questions about their capabilities, we are ready to help! 919-682.5552. or 888.528.9703.
Expanding its line of Aurora 192 kHz AD/DA converters, Lynx Studio Technology has announced the Aurora 16-VT Variable Trim model. Aurora 16-VT allows users to manually set the analog input and output levels within a range of +8.5 dBu to +24 dBu. 32 miniature trim pots are mounted on the primary circuit board to allow the adjustments.
Since 2004, Aurora has established its position as one of leading high end converters for recording studios around the world. Some studios, that wanted to gain the advantage of Aurora’s pristine audio quality and versatility, also required the ability to manually set the levels for optimum performance. The Aurora 16-VT provides this capability, while preserving Aurora’s other features, specifications and signature transparent sound.
One of the Beta testers for the Aurora 16-VT was producer/engineer Fabrice Dupont, a longtime Aurora owner. According to Fab, “After receiving the trimable version of the Aurora I can tell you that I think it's a winner product. I cannot tell a sonic difference between my regular Auroras and the variable trim one. They sound identical to me. Overall, this option makes replacing my old converters truly seamless. It actually feels like a true upgrade since any mix recalled with the Auroras now gain stages the same as my old converters, but sounds noticeably better.”
Bob Muller of Dangerous Music was another Beta Tester. “I think the VT is a great feature, and particularly essential to any facilities that are going to be using Auroras in a mastering setup. A lot of mix rooms are branching out into mastering and like to avail themselves of their mix rig I/O converters for both applications. I was able to calibrate the whole unit to -18dBFS = +4 dBU in under 10 minutes.”
Aurora converters are preconfigured for three voltages. Aurora 115 volt models are available in the US, Canada, Mexico and Brazil. The 100 volt models are available in Japan only. 230 volt units are available throughout the rest of the world through authorized distributors and retailers.
Features of the Aurora converters include:
Lynx Studio Technology, Inc. is a debt-free, privately held corporation that designs and manufactures professional, computer related audio products. The company was formed by a team of engineers previously associated with industry-leading digital audio companies with the goal of utilizing cutting-edge technology to create the highest quality products at a good value to the customer. The Lynx team is focused on "linking" the professional audio world with computers by utilizing their many years of experience in both hardware design and device driver coding. This complementary expertise is borne out in reliable products that not only have great specifications, but are also shipped with extremely stable and well-tested drivers. Support for Windows 95/98/ME/NT/2000/XP and Macintosh platforms are standard for most products. With the ability to support multiple platforms, buses, and operating systems Lynx plans to supply products to a variety of audio markets and applications such as audio production, delivery, and testing for recording studios, project studios, post production studios, home studios, and live concert settings. Lynx supports the retail market with a standard product line through its dealers and distributors. Lynx also supports OEM?s for larger quantities and custom designs. For information regarding retail and OEM sales please contact us at:
LYNX AURORA 16 AND AURORA 8 SPECIFICATIONS
ANALOG I/O
Aurora 16-VT Sixteen inputs and sixteen outputs
Type Electronically balanced or unbalanced
Level Continuously variable between +8.5 & +24 dBu via internal trim pots
Input Impedance Balanced mode: 24k Ω
Unbalanced mode: 12k Ω
Output Impedance Balanced mode: 100 Ω
Unbalanced mode: 50 Ω
Output Drive 600 Ω impedance, 0.2 µF capacitance
A/D and D/A Type 24-bit multi-level, delta sigma
ANALOG IN PERFORMANCE
Frequency Response 20Hz - 20kHz, +0/-0.1 dB
Dynamic Range 117 dB, A-weighted
Channel Crosstalk -120 dB maximum, 1 kHz signal, -1 dBFS
THD + N -108 dB (0.0004%)@-1DBFS
-104 db (0.0006%)@-6DBFS
1 kHz signal, 22Hz-22kHz BW
ANALOG OUT PERFORMANCE
Frequency Response 20Hz - 20kHz, +0/-0.1 dB
Dynamic range 117 dB, A-weighted
Channel crosstalk -120 dB maximum, 1 kHz signal, -1 dBFS
THD + N -107 dB (0.00045%)@-1DBFS
-106 dB (0.00050%)@-6DBFS
1 kHz signal, 22 Hz-22kHz BW
DIGITAL I/O
Number/Type 16 inputs and 16 outputs
24 bit AES/EBU format, transformer coupled
Channels 16 in/out in single wire mode
8 in/out in dual wire mode
Sample Rates All standard rates and variable rates up to
192 kHZ in both single-wire and dual-wire modes
ON-BOARD DIGITAL MIXER (VIA AES16/AES16e)
Type Hardware based, low latency
Routing Ability to route any input to any or multiple outputs
Mixing Up to four input or playback signals mixed to any
output, 40-bit precision
Status Peak levels to -114dB on all inputs and outputs
CONNECTIONS
Digital I/O Ports 25-pin female D-sub connectors
Port A: channels 1-8 I/O
Port B: channels 9-16 I/O
Yamaha pinout standard
Analog I/O Ports 25-pin female D-sub connectors
Analog in 1-8
Analog in 9-16
Analog out 1-8
Analog out 9-16
Tascam Pinout standard
External Clock 75-ohm BNC word clock input and output
MIDI One input and one output, standard opto-isolated
5-pin female DIN connecters
REMOTE CONTROL OPTIONS
Function Controls all I/O, levels, monitoring, routing and setting recall
Method AES16-AES16e: with PC or Mac IrDA: For compatible Pocket
PCs and laptops
MIDI: Selected MIDI devices
GENERAL
AC Power 110/115/230 VAC, 70 watts
Size 1.75" H x 19"W x 9"D
Shipping Weight 12 lbs
Certifications CE and FCC Class B EMI, CE Product Safety
LSLOT™ EXPANSION PORT
Compatibility Supports Lynx LSlot expansion cards
Channels Up to 16 input and 16 output simultaneously at up to
192 kHz sample rate
OPTIONAL INTERFACE CARDS FOR LSLOT
LT-ADAT Provides ADAT Optical I/O
LT-HD For ProTools/HD/Native
LT-FW Provides up to 16 channels via FireWire 400
LT-MADI Provides up to 64 MADI I/O channels
LT-USB Provides up to 16 I/O channels, USB 2.0
3rd Power CEO Jamie Scott playing the Dream Weaver in full bore, hot rodded Plexi mode
3rd Power CEO Jamie Scott playing the Dream Weaver in full bore, hot rodded Plexi mode (view less)
3rd Power CEO Jamie Scott mimicking classic record tones achievable with the Dreamweaver and 2x12 cabinet.
3rd Power CEO Jamie Scott mimicking classic record tones achievable with the Dreamweaver and 2x12 cabinet. (view less)
3rd Power CEO Jamie Scott mimicking classic record tones achievable with the Dreamweaver and 2x12 cabinet.
3rd Power CEO Jamie Scott mimicking classic record tones achievable with the Dreamweaver and 2x12 cabinet. (view less)
3rd Power CEO Jamie Scott demonstrates a range of overdriven tones available with the Dreamweaver's American Channel
3rd Power CEO Jamie Scott demonstrates a range of overdriven tones available with the Dreamweaver's American Channel (view less)
3rd Power CE Jamie Scott demonstrates the versatility of the British Dream's ability to overdrive based upon input volume, and plays some killer classic rock guitar riffs.
3rd Power CE Jamie Scott demonstrates the versatility of the British Dream's ability to overdrive based upon input volume, and plays some killer classic rock guitar riffs. (view less)
Amazing texture and atmosphere with Jamie Scott (3rd Power CEO) playing with the 3rd Power Dream 40 AC and Strymon
Amazing texture and atmosphere with Jamie Scott (3rd Power CEO) playing with the 3rd Power Dream 40 AC and Strymon (view less)
Model: DB Signature OM Top: Premium Eastern Red "Adirondack" Spruce Back & Sides: Madagascar Rosewood
Model: DB Signature OM Top: Premium Eastern Red "Adirondack" Spruce Back & Sides: Madagascar Rosewood (view less)
Tenor saxaphone solo into the TELEFUNKEN U47
Tenor saxaphone solo into the TELEFUNKEN U47 (view less)
Peluso P28 Tube Microphones used for drum overheads
Peluso P28 Tube Microphones used for drum overheads (view less)
Chris Boerner playing "All the things you are" on the Buscarino Monarch
Chris Boerner playing "All the things you are" on the Buscarino Monarch (view less)
Our own Chris Boerner gettin jazzy with the Eastman 905ce.
Our own Chris Boerner gettin jazzy with the Eastman 905ce. (view less)
Chris Boerner jazzez it up with the Buscarino Monarch custom guitar. This is the guitar played acoustically and mic'd with a stereo spaced pair of Peluso P67's.
Chris Boerner jazzez it up with the Buscarino Monarch custom guitar. This is the guitar played acoustically and mic'd with a stereo spaced pair of Peluso P67's. (view less)
Tom Ribbecke Halfling archtop guitar playing "Stella By Starlight" into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8.
Tom Ribbecke Halfling archtop guitar playing "Stella By Starlight" into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8. (view less)
Tom Ribbecke Halfling archtop guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8.
Tom Ribbecke Halfling archtop guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8. (view less)
Jimmy Foster Basin Street 7 String Cremona Burst guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8.
Jimmy Foster Basin Street 7 String Cremona Burst guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8. (view less)
Jimmy Foster Basin Street 7 String Cremona Burst guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8.
Jimmy Foster Basin Street 7 String Cremona Burst guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8. (view less)
Jimmy Foster Basin Street 7 String Cremona Burst guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8.
Jimmy Foster Basin Street 7 String Cremona Burst guitar played into AER Alpha amp(all controls 12 o'clock) mic'd with Peluso 22 251 into A Designs Pacifica feeding Lynx Aurora 8. (view less)
Benedetto Bravo electric guitar played into AER Compact 60 mic'd with Peluso TR 14 into A Designs MP-2A feeding Lynx Aurora 8.
Benedetto Bravo electric guitar played into AER Compact 60 mic'd with Peluso TR 14 into A Designs MP-2A feeding Lynx Aurora 8. (view less)
Benedetto Bravo electric guitar played into AER Compact 60 mic'd with Peluso TR 14 into A Designs MP-2A feeding Lynx Aurora 8.
Benedetto Bravo electric guitar played into AER Compact 60 mic'd with Peluso TR 14 into A Designs MP-2A feeding Lynx Aurora 8. (view less)
Benedetto Bravo electric guitar played into AER Compact 60 mic'd with Peluso TR 14 into A Designs MP-2A feeding Lynx Aurora 8.
Benedetto Bravo electric guitar played into AER Compact 60 mic'd with Peluso TR 14 into A Designs MP-2A feeding Lynx Aurora 8. (view less)
McNaught Vintage Single Cut electric guitar (bridge pickup) played into Rivera Chubster 40 Combo(channel 2, volume 5, bass 5 mid 6, treble 7, master 5, presence 10, boosted) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8.
McNaught Vintage Single Cut electric guitar (bridge pickup) played into Rivera Chubster 40 Combo(channel 2, volume 5, bass 5 mid 6, treble 7, master 5, presence 10, boosted) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8. (view less)
McNaught Vintage Single Cut electric guitar (neck pickup) played into Rivera Chubster 40 Combo(channel 2, volume 5, bass 5 mid 6, treble 7, master 5, presence 10) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8.
McNaught Vintage Single Cut electric guitar (neck pickup) played into Rivera Chubster 40 Combo(channel 2, volume 5, bass 5 mid 6, treble 7, master 5, presence 10) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8. (view less)
McNaught Vintage Single Cut electric guitar (bridge pickup) played into Rivera Chubster 40 Combo(channel 2, volume 5, bass 5 mid 6, treble 7, master 5, presence 10) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8.
McNaught Vintage Single Cut electric guitar (bridge pickup) played into Rivera Chubster 40 Combo(channel 2, volume 5, bass 5 mid 6, treble 7, master 5, presence 10) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8. (view less)
McNaught Vintage Single Cut electric guitar (neck pickup) played into Rivera Chubster 40 Combo(channel 1, volume 8, bass 3 mid 7, treble 5, master 5, presence 8) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8.
McNaught Vintage Single Cut electric guitar (neck pickup) played into Rivera Chubster 40 Combo(channel 1, volume 8, bass 3 mid 7, treble 5, master 5, presence 8) mic'd with AEA R84 into LaChapell Audio 583s Tube Preamp & mic'd with Sennheiser MD 421 II into A Designs Blue Preamp feeding Lynx Aurora 8. (view less)
James Tyler Studio Elite Burning Water electric guitar (position 1 pickup) played into Rivera Quiana amp(channel 1, volume 7, bass 4 mid 7 treble 5, master 5) mic'd with Sennheiser MD 421 II (close) into A Designs Silver Preamp feeding Lynx Aurora 8.
James Tyler Studio Elite Burning Water electric guitar (position 1 pickup) played into Rivera Quiana amp(channel 1, volume 7, bass 4 mid 7 treble 5, master 5) mic'd with Sennheiser MD 421 II (close) into A Designs Silver Preamp feeding Lynx Aurora 8. (view less)
James Tyler Studio Elite Burning Water electric guitar (position 5 pickup) played into Rivera Quiana amp(channel 1, volume 7, bass 4 mid 7 treble 5, master 5) mic'd with Sennheiser MD 421 II (close) into A Designs Silver Preamp feeding Lynx Aurora 8.
James Tyler Studio Elite Burning Water electric guitar (position 5 pickup) played into Rivera Quiana amp(channel 1, volume 7, bass 4 mid 7 treble 5, master 5) mic'd with Sennheiser MD 421 II (close) into A Designs Silver Preamp feeding Lynx Aurora 8. (view less)
James Tyler Studio Elite Burning Water electric guitar (position 1 pickup) played into Rivera Quiana amp(channel 2, volume 5, bass 7 mid 6 treble 7, master 6, reverb 3, presence 10, focus 10, boost on, bright on) mic'd with AEA R84(8 inches off) into A Designs Blue Preamp & Sennheiser MD 421 II(close) into A Designs Silver Preamp feeding Lynx Aurora 8.
James Tyler Studio Elite Burning Water electric guitar (position 1 pickup) played into Rivera Quiana amp(channel 2, volume 5, bass 7 mid 6 treble 7, master 6, reverb 3, presence 10, focus 10, boost on, bright on) mic'd with AEA R84(8 inches off) into A Designs Blue Preamp & Sennheiser MD 421 II(close) into A Designs Silver Preamp feeding Lynx Aurora 8. (view less)
James Tyler Studio Elite Burning Water electric guitar (position 5 pickup) played into Rivera Quiana amp(channel 1, volume 7, bass 4 mid 7 treble 5, master 5, boost on) mic'd with AEA R84(8 inches off) into A Designs Blue Preamp & Sennheiser MD 421 II(close) into A Designs Silver Preamp feeding Lynx Aurora 8.
James Tyler Studio Elite Burning Water electric guitar (position 5 pickup) played into Rivera Quiana amp(channel 1, volume 7, bass 4 mid 7 treble 5, master 5, boost on) mic'd with AEA R84(8 inches off) into A Designs Blue Preamp & Sennheiser MD 421 II(close) into A Designs Silver Preamp feeding Lynx Aurora 8. (view less)