Product Reviews

It is when you take a look at the rear of the unit that things get interesting. You are confronted with a multitude of connect ability.

We have eight XLR microphone inputs, eight TRS quarter-inch jack analogue outputs, 24-bit ADAT optical digital output, a chassis mounted nine-pin connector that (with an optional cable) can provide either 24-bit four pair stereo SPDIF or AES/EBU outputs and finally external clock sync input and master clock output (sample rates 32K, 44.1K and 48K)... phew!! The best part about all this is the fact that they all work simultaneously, giving us a great number of operational choices.

The principle behind Presonus's dual-domain limiter is to employ RMS as well as peak-level detection. Most compressors use RMS detection, but are generally not fast enough to catch some transient peaks. Limiters, albeit fast, can be too harsh in their processing, so the combination of the two approaches makes for a more musical limiter. The peak detection is only really used on the unit to stop the A/D from clipping.

In Use

A pre-amplifier with a variety of direct digital outputs clearly lends itself as a front end to a computer-based recording system, and the fact that all connections work simultaneously allowed me to record a variety of signals to several different recording systems at once... very handy.

I used the ADAT optical output to a 20-bit XT, SPDIF to Pro Tools via an AudioMedia card and balanced analogue outputs to a Studer A800 MKIII. Not too shabby an arrangement for such a test.

We began by recording drums (a standard five-piece kit) through the DigiMAX to all systems, firstly without any limiters. Full beefy sound from bass drum, overheads and high-hat sounded particularly crisp and detailed. There was no real noise from the DigiMAX at all. Very quiet and smooth. The results to both the ADAT and Pro Tools were particularly pleasing, but when you start to play with the limiters things really do start to come to life and jump out at you — a really punchy dynamic sound. The DigiMAX really began to impress me.

Directly inputting bass guitar through the front of the unit was equally impressive. Once again, it was with the Pro Tools system in particular that you appreciated how full and driving the lower frequencies sounded on the hard disk.

Recording acoustic six string in stereo through two AKG C451E/CK1's we had a gloriously smooth sound. The detail in the high-frequency region was nice and bright without being too hard. The DigiMAX coped with all the variations thrown at it with

PreSonus Audio Electronics 7257 Florida Blvd, Baton Rouge, LA 70806

T 225.216.7887 F 225.926.8347 www.presonus.com

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Presonus Audio electronic 96k manual Product Reviews
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96k specifications

Presonus Audio Electronics, a well-known name in the realm of professional audio equipment, has made significant strides with its 96k audio interfaces. These devices have evolved to meet the demands of modern audio production, providing high-definition audio quality and an array of features tailored for both novice and professional sound engineers.

One of the standout characteristics of the Presonus 96k audio interfaces is their impressive 24-bit/96kHz resolution. This level of fidelity ensures that recordings capture the nuances and subtleties of sound with remarkable clarity. Musicians and sound engineers can appreciate the depth and richness brought to their audio tracks, making the interfaces ideal for studio recordings, live performances, and broadcasting.

Equipped with advanced A/D and D/A converters, the Presonus 96k interfaces guarantee low latency and minimal distortion during the conversion process. This technology helps maintain the integrity of audio signals, allowing for seamless recording and playback. Furthermore, the interfaces feature high dynamic range, which contributes to a more detailed and expressive sound.

The hardware is complemented by users-friendly software, including PreSonus’ Studio One Artist digital audio workstation. This allows users to harness the full potential of their audio interface right out of the box, providing a comprehensive solution for recording, mixing, and mastering. The included software often features plugins, virtual instruments, and a host of editing tools that streamline the production process, empowering artists to achieve professional results.

Connectivity is another strong suit of the Presonus 96k interfaces. They typically come equipped with multiple inputs and outputs, including XLR/TRS combo jacks and MIDI ports. This versatility enables users to connect various instruments and microphones effortlessly, making it suitable for both solo artists and full bands.

Additionally, the interfaces feature built-in headphone outputs with independent volume control, enabling real-time monitoring without interfering with the main output. This is particularly beneficial during recording sessions, allowing performers and sound engineers to hear exactly what’s being captured.

Another hallmark of the Presonus 96k interfaces is their robust build quality and design. They are often compact and portable, making them perfect for studio setups or on-the-go recording. The intuitive layout of controls and indicators ensures ease of use, allowing users to focus on the creative process rather than navigating complicated hardware.

In summary, Presonus Audio Electronics’ 96k audio interfaces stand out for their high-definition audio quality, advanced conversion technologies, versatile connectivity, and user-centric design. These features unite to create a powerful tool for anyone serious about audio production, from musicians to sound designers, offering a blend of performance and convenience that is hard to match in today’s market.
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