AURORA HDR EXPRESS REVIEWS UPDATE
AURORA HDR EXPRESS REVIEWS PROFESSIONAL

It even has a wide mode that can track off-frequency clocks, but its narrow mode works on the standard sample-rate frequencies and can reduce jitter by up to 3000:1. Synchro Lock works on any external word clock signal and becomes active once you choose any clock source other than the Internal one. When it detects a valid clock signal, it starts flashing at a low rate as it starts to analyse it, and during the next couple of minutes this flash rate increases several times as the two-stage system (the more typical phase-lock loop first, followed by a digitally controlled crystal-based secondary stage) performs its extensive number crunching, before the LED finally stops flashing once it's achieved the final low-jitter clock state. The associated Sync Source LED indicators flash in the absence of a suitable clock signal, while the adjacent Synchro Lock LED reflects one of the most potent features of the Aurora. Of these, Ext/2 syncs to word clock at half the desired sample rate, for use with dual-wire AES-EBU devices - the Aurora 16 supports either 16 digital channels in single-wire mode, or eight in dual-wire mode - and LSlot is typically from the optional LT-ADAT card. A sample rate button has a periphery of LED indicators displaying the current rate, from 44.1, 48, 88.2, 96, 176.4 and 192 kHz, with six sync options. Photo: Mark Ewingīoth the Aurora 8 and 16 models feature an uncluttered milled-aluminium front panel, and apart from the number of LED peak meters in the oval window, are identical. The Aurora connects to the outside world using a bank of D-Sub connectors. Off-the-shelf cables from various third-party companies are available for direct connection to digital mixers and recorders from manufacturers such as Mackie, Sony, Tascam and Yamaha. The remaining ports are all DB25 connectors for Analogue In 1-8, Analogue Out 1-8, AES I/O 1-8, and (on the Aurora 16 only) Analogue In 9-16, Analogue Out 9-16 and AES I/O 9-16.

AURORA HDR EXPRESS REVIEWS UPDATE

The Aurora rear panel has a standard IEC mains connector for its internal PSU, BNC word clock in and out, MIDI In and Out (to control the Aurora mixer and update its firmware in the absence of an AES16 card), and a cover for the LSlot port that you can use to add the optional LT-ADAT expansion card, which offers two ADAT lightpipe inputs and outputs and supports high sample rates using S/MUX technology. Partnering Aurora converters with an AES16 card provides various additional features, which is why I decided to review them both together. The Aurora is available in eight-channel and 16-channel versions, and has already caused a stir in the audio community for offering such high quality at significantly lower prices than some competitors. Now they have completed the circle by offering rackmount converters of their own with similarly high quality to that of their soundcards.

With this in mind, Lynx introduced their AES16, which as its name suggests supports up to 16 input and output channels of AES-EBU digital audio at sample rates up to 192kHz. However, many studios still use rackmounted converters or digital mixers, yet with the continued move to computer-based workstations, need a way to interface these to their Macs or PCs.

AURORA HDR EXPRESS REVIEWS PROFESSIONAL

Lynx products are now to be found in lots of professional recording and mastering studios worldwide. With their Lynx One and Two soundcards (reviewed in SOS November 2000 and March 2002 respectively), Lynx Studio Technology have done more than any other company to dispel the myth that audio converters are inevitably compromised when mounted inside a computer. With even the cheapest soundcards now offering 24-bit, 192kHz recording, is it still worth investing in high-end converters? Lynx certainly think so.

Aurora hdr express reviews