Lynx have updated and improved their celebrated modular audio interface.
Multi-channel audio interfaces designed for project-studio use usually embody a Swiss Army knife design philosophy, whereby a single rack unit will incorporate not only A-D and D-A conversion but mic preamps, monitor control and more. As you move up the food chain, however, this approach becomes less common. Discerning high-end studio owners often prefer to cherry-pick the individual elements of a complete system from different manufacturers, and expect to be able to buy products that are tailored to their specific needs. If you’re pairing your audio interface with an analogue mixer, for example, you’d have no need of built-in preamps or master-section features. And if you’re spending thousands of pounds on a multi-channel interface, you also want some reassurance that it’s going to be future-proof.
At this more rarified level of the market, then, audio interfaces tend to have a more open-ended feature set. Lynx’s well-established Aurora system is a good example. Originally launched back in 2006, the Aurora 8 and 16 each offered only line-level analogue I/O, with no preamps or monitor-control features, but Lynx’s LSlot technology enabled compatibility with a wide range of computer connections and other digital I/O. By installing the appropriate expansion card, users could make their Aurora talk to other devices over FireWire, USB, Thunderbolt, ADAT, AES3, MADI or DigiLink connectors. This flexibility has helped to keep those devices in Lynx’s catalogue for over a decade, ensuring that users weren’t stranded when, for example, FireWire was superseded by Thunderbolt.
Now, however, the Aurora 8 and 16 have been discontinued in favour of a product which takes this flexibility to the next level. In terms of interfacing, the Aurora (n) is based around the same LSlot technology as its predecessors; so, depending on your needs, it can be a native audio...
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