We're often asked the about the sound differences between the Lynx Aurora and the Apogee converters, and invariably which one sounds "better". We ran some tests when the Aurora converters first started to ship which you can read about below, however as with all our tests and comparisons, your mileage may vary. Aside from whatever sound differences exist between the Lynx and Apogee converters, there are also feature differences that you should take into account as well when making a purchase decision. For instance, do you need an ADAT? Are you also connecting to a Digidesign system? Or would you like a Firewire connection? Often a quick phone call or email to us can help point you in the right direction, leaving you to decide what sounds best.
With the Aurora 16-VT, Lynx has added a Variable Trim feature to the popular Aurora line of converters. The levels on each of the 16 Analog input and output channels can be independently set with 0dBFS continuously variable from +8.5dBu to +24 dBu. 32 miniature trim pots are mounted on the primary circuit board to allow the adjustments.
We took 8 tracks from a session and set them up as 3 groups on the RADAR [I know the Aurora can do 16 I/O... for this text it was doing 8]. We then printed 24 tracks of 1 kHz tone onto the RADAR and calibrated 24 returns with no panning to -5 on the VU meters for all channels. All three master two busses were also calibrated to the exact same level... all levels were checked three times to make sure no one had even .1db of an advantage in terms of level. A Crane Song Avocet was used as our source switcher with the three converter sets running to the three analog inputs on the Avocet.
On first listen, the Apogee Rosetta 800 had a clearer, larger bottom... almost like it went down an extra octave or 1/2 octave from the Lynx. The Lynx was sweeter and better defined in the upper midrange and on the very top.
Next, for shits and grins we panned the overheads left and right on all three sets, muted the other channels and gave it a listen [remember, both the Lynx and the Apogee are doing the A/D-D/A process from an already recorded digital source so they're both equally handicapped]. The Lynx had a slightly better, slightly more open stereo image, however it was overall pretty close, and again, the Apogee had a better bottom in our opinion.
The other test we did get to this week was to hook them both up to an Apogee Big Ben and give them a go. All I can say is "H-O-L-Y S-H-I-T !!!!!" Both boxes came pretty damn close to giving the RADAR [still on internal clock] a serious run for the money.
The bottom on the Apogee became clearer and tightened up (just like you read about in Apogee's marketing) and the Aurora's bottom became more focused with better detail. The high end imaging of the Rosetta took a quantum leap forward and the Aurora's stereo imaging spread out an extra few inches.
We were remarkably impressed with the differences... they're both really good units, but with the Big Ben, they're really amazing. -- Fletcher
FEATURES
- Internal manual trim controls on all analog input and output channels
- Analog reference levels are continuously variable between +8dBu and +24dBu
- Simultaneous 16 channel Analog I/O and 16 channel AES/EBU I/O
- 192kHz AES/EBU I/O supporting Single and Dual Wire modes
- Extensive remote control capability via Lynx AES16, IrDA, and MIDI
- LSlot expansion slot for ADAT, Pro Tools HD, Firewire, and MADI I/I
- Onboard digital mixer provides flexible I/O routing
CABLES - If you need cables for your Aurora 16-VT, check out these:
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