• Soundblade Hd 2.2 16-ch. Mastering Workstation
• Soundblade Hd 2.2 16-ch. Mastering Workstation 2
• Soundblade Hd 2.2 16-ch. Mastering Workstation Free
• Soundblade Hd 2.2 16-ch. Mastering Workstation 1

SoundBlade HD masses all the power and features of the soundBlade family into one complete workstation for mastering, archiving, mixing, and post-production. Includes 8/16 track production, Sonic Mastering EQ, DynPEQ Trio dynamic parametric EQ, QuickTime interlock, LTC support and much more. SoundBlade HD brings all the power and features of Sonic Studio into one complete solution for Mastering, Archiving, Mixing, Restoration. Nov 12, 2018 - soundblade hd 2 2 16 ch mastering workstation for mac. ReadMe Table of Contents. Sonic Studio - In addition. Oct 30, 2006 - Steinberg Cubase 4 Description: Digital audio workstation software. SoundBlade HD: Complete Mastering Workstation. Superb Sound: Uses acclaimed SonicStudio Engine (SSE) for best sound possible. Edit: 8/16 Tracks. Fast intuitive editing. Infinitely adjustable 64-bit real-time Fades. Original Source / Destination Editing Model. Extreme Precision Edit Fade Mode. Records 8 tracks up to 192 kHz. Sonic Studio soundBlade HD 2.3.2 Digital Audio Workstation; Sonic Solutions™ USP Digital Audio Workstation w/Full No Noise™ Software; Sony CDW-900e CD Recorders (3) – Exabyte Eliant 8mm tape drives; ProTools 10.3.9 w/002 Rack for playback & Waves Restoration Software Bundle; Mastering Console. Crookwood custom designed mastering console. SoundBlade HD 16-ch. Mastering Workstation for Mac. SoundBlade HD 16-ch. Mastering Workstation for Mac. This is a single update for soundBlade HD version 2.x to 2.2. Requires an existing license. Customer Questions & Answers Ask a Question.

Page 2 of 94 - Immersive Music - posted in File topics: In response to post #25855694. #25856249 is also a reply to the same post. Spoiler asdawdawsdawds wrote: I have a question. Is it compatible with musical lorre & audio overhaul? LanceHolland90 wrote: I am using it right now with Audio Overhaul for Skyrim (a.k.a AOS).No issues whatsoever. Download it and find out.

Audio Overhaul is a mod for The Elder Scrolls V: Skyrim created by David Jegutidse. It’s an extensive sound overhaul aiming to make the soundscape more immersive, clear, responsive, impactful and ultimately fun, while always aiming for maximum compatibility, performance and coherency with the main g

Audio has been tweaked and often redesigned from scratch in thousands of instances of content and implementation, to achieve one coherent vision for the soundscape that does not rely on third party content or code.The overall style and tone moves away from a 'gamey' soundscape and instead uses more real life audio behavior as a guideline. Another goal was to really make sure that this mod does not give it self away as a mod. Through subtlety and coherence, new and old content should meld together seamlessly, even if that means that the majority of changes will not be consciously noticed. No content has been stolen from other games. New content is unique to this project and there is nothing that was just copied straight out of a sound library.

How to install: The mod has it’s own installer.

Report problems with download to [email protected]

see more

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Object-based audio has revolutionized how we enjoy movies and even video games, creating stunningly rich and immersive experiences. It’s important to note, however, that object-based audio essentially falls into two separate camps: Simulated vs. discreet. The former being great for spaces too small to fit a more robust, multi-channel system, while still being capable of delivering the 3D sound you’re after. The latter being ideal for spaces — and budgets — capable of supporting that big, audacious setup. Here we’ll discuss simulated object-based audio and reasons why it might be the solution for you.

How simulated object-based audio works

Object-based audio takes you beyond traditional surround sound, providing atmospheric effects from all sides and even varying heights. Making it all work calls for numerous speakers, including ones that either are installed overhead or employ height modules on towers to bounce sound off the ceiling and into your listening area. Fortunately, if that full-scale discreet setup isn't right for your home, you’ve still got options.

Corellian g9 rigger freighter. Simulated object-based audio formats capture multidimensional effects in a stripped-down form. When you use a sound bar or AV receiver equipped with DTS Virtual:X or Auro3D, advanced algorithms determine the right location for incoming audio signals and position the sound appropriately. That means you can get the impression of effects coming from behind or above you like you would when using a multi-channel setup, but the audio would originate from a sound bar or a pair of speakers, for example.

Innovations in digital processing technology continue to open up new possibilities for unique home entertainment experiences when it comes to simulated object-based audio. Sound companies like Steam Audio have brought immersive effects to the soundtracks for video games, making it possible for developers to adapt audio simulations to the suit the spaces they design. And with just a few pieces of quality equipment, enthusiasts can feel a refined sense of immersion from their favorite movies, TV shows and games.

Choosing the best speakers for simulated 3D audio

To bring out the nuances that are essential for simulated object-based audio, you need speakers that are up for the task. These sonic formats are renowned for their versatility, but the key to achieving the best results is setting yourself up to create a full range soundstage that fills your listening area.

The high-performance bookshelf speakers that comprise the Definitive Technology Demand series are ideal for the job, built to deliver consistently powerful and ultra-smooth results as a more compact solution. Demand D11 speakers feature an aluminum dome tweeter that projects a precise center stereo image, along with a Linear Response Waveguide to extend frequency response and maximize dispersion. Again, it’s all about finding speakers that support the soundstage offered by simulated object-based audio. And the Demand Series can power that experience and more.

Remember, simulated object-based audio elevates home theater without having to overhaul your living room to enjoy it. So, if you’re tight on space—or just not ready to go all-in on the ultimate setup for that better aligns with experiencing discreet 3D audio—there’s nothing wrong with taking a more simulated approach to the sound you seek.

Explore the full range of home audio equipment available from Definitive Technology to start revamping your home theater in a way that fits your specific needs.

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 converters stand at the heart of every digital audio product. If the conversion is not up to snuff, you might as well toss the product out the window -- as the best you can hope for is that it doesn’t damage your precious audio (or reputation) too much. No matter how good the DSP is, if your converters don’t capture (or render) your audio accurately you are starting at a deficit.

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

In addition to all these high-end features, the MH Monitor Controller provides unique support for per-output-path configurable signal processing including EQ, Bass Management and protective limiting. Each output path can have its own signal processing, even if the paths share speakers. This allows you to configure alternate monitoring setups with one monitoring system (for example, you could configure the signal processing to provide a band-limited monitoring path or a path that lacks subwoofer reinforcement).

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.

Soundblade Hd 2.2 16-ch. Mastering Workstation

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.

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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

With everything you need to record, mix, process, and master audio (just add your DAW of choice and transducers), the ULN-8 is your one-stop solution for recording, edit, mix and mastering suites. Even if you are using a DAW or recording system that does not support the ULN-8 Ethernet or USB interface, the unit’s standalone operation and standard AES and analog interface (and optional ADAT or MADI interfaces) allow you to use it as the Audio Front End and Monitor Controller for Pro Tools HD, standalone and PC based recording systems.All these features make for an impressive package, but we’re just beginning. The ULN-8 is built around Metric Halo’s 3d DSP platform, giving you the power to run a sophisticated mixer with up to 128 inputs and 64 busses across multiple boxes. Of course you can run plug-ins inside the box as well. It also includes a full +DSP license, giving you the ability to create powerful mixing, sound design and master plug-ins. Beauty and brains, all in 1RU.ULN-8 is the perfect tool for capturing audio wherever inspiration hits, in the studio or on the road. Use 3 ULN-8s chained together for 24 tracks of live concert recording with processing on all channels in 3 rack spaces. Add more units if you need more channels. Location sound engineers can now capture the moment — anywhere, anytime.

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.

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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
• 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)

DC-Powerable

High quality, custom designed formed powder-coated aluminum case

• Strong
• Light weight
• Scratch and fingerprint resistant
• Smooth contours for snag-free transportation in a gig-bag
• Rack-mountable with included rack-ear kit

Exceptional Power Performance (only 32 Watts)

Low mass (6 lbs / 2.7 kg)

Extremely Compact (everything in 1 RU)

Future Proof, Expandable, and software-enhanceable

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:

Soundblade Hd 2.2 16-ch. Mastering Workstation 1

• 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	$4495	$2995	$1595	$1795
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:

• 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…