MADI Inputs
1 x MADI input via 75 ohm BNC
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Fairlight Audio Accelerator with DaVinci Resolve offers ultra low latency for up to 2000 tracks, cascading bus management with FlexBus and real time processing, and one coax MADI I/O with up to 64 inputs and outputs at 24 bit/48kHz! The single width PCIe card connects to the Fairlight Audio Interface with a proprietary interface to synchronize to house reference via the interface word clock, AES, MADI or HD Tri‑sync or reference video inputs.
1 x MADI input via 75 ohm BNC
1 x MADI output via 75 ohm BNC
Supports Fairlight Audio MADI Upgrade via SATA connectors 1, 2 and 3.
Supports Fairlight Audio Interface via multi‑pin connector on shield.
Single half length PCIe x4 board
44.1, 48, 96 and 192 KHz with minimum 32 bit floating point processing.
Verified using Mac Pro 7,1 with Intel CPU.
Track count organized from mono to 26.0.
2000 Mono Audio Tracks at 48kHz.
1000 Mono Audio Tracks at 96kHz.
500 Mono Audio Tracks at 192kHz.
256 Busses plus 512 Bus elements at 48kHz.
256 Busses plus 256 Bus elements at 96kHz.
256 Busses plus 128 Bus elements at 192kHz.
128 at 48kHz.
64 at 96kHz.
32 at 192kHz.
When used with Core Audio plus Fairlight Accelerator.
256 at 48kHz.
128 at 96kHz.
64 at 192kHz.
Elastic wave time warping and sample rate conversion.
Six band EQ.
Expander/gate, compressor and limiter.
Up to six Resolve, VST or AU plugins.
Direct out.
Four band clip based EQ.
Up to six Resolve, VST or AU clip based plugins.
Mono, stereo, 5.1, 7.1 up to 26.0 and other 3D channel formats.
In place solo.
Up to 16 VCA groups.
Up to 512 mono bus elements, organized in any format from mono to 26.0.
Mono, stereo, 5.1, 7.1 up to 26.0 and other 3D bus formats.
Up to 10 bus sends per channel and bus with independent level control.
Up to 10 post fader bus sends per channel and bus.
Automatic and flexible delay compensation.
Four band EQ.
Compressor and limiter.
Up to six Resolve, VST or AU pre fader plugins.
Direct out.
Up to six Resolve, VST or AU plug-ins on any channel or bus.
Tactile control of plug-ins from the Fairlight audio editor.
Plug-ins are fully controllable with automation.
Up to four simultaneous sources.
Source from internal buses or external inputs.
Up to 16 different speaker sets.
Customizable fold up and fold down when crossing formats.
Optional B-Chain processor for cinematic setups with up to 64 speakers.
Mac 10.15 Catalina or later, not
including Apple silicon systems.
Windows 10, 64-bit.
14W
0° to 40°C (32° to 104°F)
-20° to 60°C (-4° to 140°F)
0% to 90% non-condensing
Fairlight Audio Accelerator
1 Year Limited Manufacturer's Warranty.
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I really want to love this for my daughter. She loves playing with my Synthstrom Deluge and my Push 2 when it's plugged in and she sits in my lap.
On paper this is perfect. A tiny-hand friendly 'groovebox' that my 2yo (and myself) can fiddle with and watch the pretty lights change and hear the parameters sculpt the synth tone.
The problem is all the synth patches are decidedly in the acid and squelch realm. For the life of me I can't get a decent, lush patch. I understand the point is to let my child explore and just find and discover sounds but it all sounds so abrasive. If I zero out all the depth and LFO dials and listen to what I assume is an unmodulated, relatively clean patch it's still really atonal. There's none of the sweet subtractive sound I was expecting. Perhaps that's on me and my expectations.
There are no parameter clamps so your LFOs range from what sounds like .01hz to way up to 240hz. When these values are applied to modulation it's either unnoticeable or so full on that it mangles the sound. Yep, you need to keep the dial in the sweet spot, but clamping would solve this and keep the parameters in a much more musical range.
Speaking of modulation, by ear I often can't tell what the two mod dials are doing. That's partially on me, I need to do some manual diving, but I'm pretty experienced with synths and can usually tell the modulation in effect. And even then adjusting the depth usually doesn't do anything except make the sound even more abrasive. Sometimes it feels like it's delayed and only applies your modulation changes at the next sequence start, other times it's clearly real time.
So yeah. I love the idea of this and I'll keep it and see if I can't get any palatable sound out of it via MIDI, but as it stands I really don't think my daughter - who again, loves playing with other synths/devices when there's a decent sounding patch loaded - will be getting much use our of it.
Neutrik NE8FFX6-W CAT6A feedthrough coupler for cable extensions
There is one “small” problem with the Artiphon Orba travel case: the Artiphon Orba does not fit in it if you have dressed your Orba in the Artiphon Orba silicone skin. Otherwise it’s fine