Prism Sound Launches A New Audio Conversion System For The 21st Century

The ADA-128 is a groundbreaking modular system delivering up to 128 channels of A/D D/A conversion and brings new levels of flexibility to the professional audio market.

Prism Sound’s long history of developing high quality products has reached new heights with the launch of the ADA-128 – a modular audio conversion system offering up to 128 channels of 32-bit A/D and D/A conversion at sample rates of up to 768kHz.

The ADA-128 is the latest in Prism Sound’s internationally acclaimed range of Dream A/D and D/A converters. By applying the same ‘no compromise’ design philosophy, Prism Sound has created a product that perfectly complements its existing range, which includes the hugely popular ADA-8XR multichannel converter that can be found in so many prestigious audio facilities worldwide. This new converter brings exceptional levels of flexibility, functionality, and cost effectiveness to the professional audio market without any compromise in sound quality.

Mark Evans, Prism Sound’s Sales Director, says: “This is the first product of a new generation of Prism Sound converters and we are confident that it will be well received by audio professionals across many different disciplines, including music recording, post production, broadcast and installation. It builds on everything that is great about Prism Sound conversion but takes it to a new level in terms of power and flexibility.”

Designed as both a conversion system and a high-performance, networkable audio distribution and processing system, the ADA-128 is built around a flexible 2RU mainframe that can be fitted with up to 16 analogue and digital IO modules (each of which nominally provides eight input or output ports, or both). Up to four Host modules provide bidirectional multi-channel connections to host computers, workstations, networks etc. The ADA-128 provides free routing between all of these inputs and outputs under detailed user control, as well as a wide range of processing functions.

“The ADA-128 has a host of exciting features including low-jitter master clocks, flexible routing and synchronization options and a comprehensive store system for fast-access factory and user pre-sets,” Mark Evans adds. “However, one of its key benefits is the ability to independently synchronize the I/O cards to create four different domains, each with its own sample rate and clock. This level of flexibility is unprecedented and will definitely appeal to facilities with more than one control room, as well as projects requiring a large amount of I/O.”

The inspiration for the ADA-128 originally came from discussions between Prism Sound’s Managing Director Jody Thorne and The Royal Birmingham Conservatoire, a faculty of Birmingham City University.

“The Conservatoire were looking for high quality converters and knew Prism Sound’s reputation in this area, which is why they approached us,” Jody Thorne says. “Our discussions identified the need for a high channel count conversion system that could be networked across their entire facility. As this didn’t exist, we set about designing it and that project formed the basis of the ADA-128. This has now gone beyond their original specifications and we have ended up with a product that is absolutely perfect for many more customers in the installation market.”

During the development period, The Royal Birmingham Conservatoire have installed Prism Sound ADA-8XR converters in its studios but will now take delivery of the first ADA-128 units to roll off the production line. Another early adopter is the Royal Northern College of Music in Manchester. Other facilities are also specifying the unit and eagerly awaiting delivery.

You might also like...

Digital Audio: Part 5 - The Mathematics Of Oversampling

Oversampling is a topic that is central to digital audio and has almost become universal, but what does it mean?

The Sponsors Perspective: Capturing Immersive Audio

Strategies for capturing immersive audio for scene and object-based audio.

AES Tackles Online Content Loudness

It was on December 13, 2011 that the Federal Communications Committee (FCC, the governmental body that oversees TV broadcasting in the U.S.), along with many irritated consumers, had had enough and decided to do something about the often times huge disparity…

The Sponsors Perspective: Monitoring Immersive Audio

Genelec Senior Technologist Thomas Lund starts down the road to ideal monitoring for immersive audio by looking at what is real, and how that could or should be translated for the listener.

The Sponsors Perspective: Effectively Using The Power Of Immersive Audio

Lawo’s Christian Scheck takes a tour of console functions and features that have a special place in immersive audio production, and how they are developing.