At 2016 NAB, Glensound Electronics introduce the Mini Cub, USB audio interface with a single audio input and return stereo headphone monitoring.
A little brother of its 2014s Cub USB interface, Glensound said the dimensions of the Mini Cub are 3.1 x 3.6 x 1.4 inches. It has a water and dust proof mini USB interface for connection to a PC, Mac or for the original project it was designed for, a Raspberry Pi.
The Mini Cub is USB powered which means there is no need for batteries or external power. There is a single XLR input which is mic, mic + 48V phantom or line selectable.
The input has Glensound’s Referee input compressor system to avoid peaks and clipping. A four-segment LED indicates the input level which is adjustable by a front panel pot control. This input is delivered to both channels of the USB output.
Rear of Mini Cub
There is a connection for a stereo headphone connection with an adjustable level control. A mix control pans between the input and return signals to allow the user their preferred mix.
Unlike consumer devices, the Mini Cub is built for broadcast, in a heavy duty housing, with audio specifications to match. It has internal digital signal processing and micro controllers for system control, with the digital audio at 24bit 48kHz, and an equivalent input noise (EIN) of 121dB at line up.
The Mini Cub is very trimmed down on features, focusing on being a high quality USB audio interface that manages the variation of incoming audio levels. It allows a single input connection and stereo return monitoring from the PC.
The Mini Cub retails for $542.50.
You might also like...
In this new series John Watkinson looks at all aspects of microphones, including how they work and how they don’t work.
Gain control in digital audio is essentially a numerical model of the same process in the analog domain.
The advantages of digital audio for recording purposes are clear, but once in the digital domain, productions steps also need to be carried out. Recorders don’t care about the encoding method, which is instead optimized for production purposes.
The best sampling rate for digital audio is easily established by considering the requirements of the human auditory system (HAS), which is the only meaningful arbiter. Provided that the bandwidth of a digital audio system somewhat exceeds the bandwidth of…
It’s interesting to compare the quality that can be obtained using digital audio with legacy media such as the vinyl disk and magnetic tape.