Home Recording Studio Review!Antelope Orion32 Multichannel A/D-D/A24/192 Computer Recording Interface

EAN Reviews Orion32 at Sirius-XM Studios in DC

Brevis...

Price: $2,995

Likes: 32 channels A/D-D/A, sound quality

Dislikes: needs separate A/D channel trims

More info: Antelope Orion32

by Jackson Macinnis

  With more than 30 years of digital recording under our belt, we have arrived at a place where we can use 24-bit technology to bring us the analog smoothness we all love, yet gives us the added dynamics and detail that are positively live in their character. To achieve this, all we need is hard drive space and computing power. But up to now, the vast powerful, digital rigs were expensive and complex — with proprietary interfaces, etc.

  Digital audio recording is now at a crossroads where even the most astute commercial, savvy home studios and live sound companies are rethinking the need for full blown, complex recording rigs with massive investments in PCI cards and I/Os needed to put together a complete system.

  The trend to downsize digital rigs without losing quality is typified by Antelope Audio’s new Orion32, a 32-channel A/D-D/A DAW 1RU-sized interface, retail priced at an incredible $2,995; it has come along at the perfect time. The Orion32 is the product that just could be a pivot point for many recording engineers who want to keep options open, rather than committing to expensive proprietary hardware systems. I wouldn’t mind rolling into a live venue with a laptop and the single-rack space Orion and handing the front-of-house engineer my one MADI cable and, later, walking out with all the tracks ready to mix.

Features

  The Orion’s 32 channels of analog-to-digital conversion and digital-to-analog conversion, contained in a single rack space, is remarkable, but the feature that blows my mind is that it can record those 32 channels of audio via a single USB cable, up to 24/192. The word from Antelope is that they have created a proprietary USB 2.0 chip that does all the amazing automation required to move that quantity of data. This same specification would be nearly three times the cost of a comparable I/O Avid system, not to mention the cost of the PCI cards involved.

Holy Cow! 32 Channels for under $3,000

  Some of Orion32’s features, including the built-in MADI inputs and outputs (which we find are more and more available on live mixing consoles from companies, such as MIDAS) are future-looking bells and whistles that are a great example of why this unit is relevant and timely. It also has full light-pipe I/O for even more flexibility.

  One of Orion32’s key features, for use in larger studios and video post production, is the integration of the Antelope master clock, which is well known in the audiophile community. The Orion has multiple outputs from this clock. Another key feature is the addition of its “Atomic Clock” input, which is for facilities that have vast digital routing capabilities and needs, like a large broadcast facility or massive live sound system. Antelope makes an Atomic Clock generator, said to be one of the most accurate clocks on the market. Digital clocking is a specialty of Igor Levin, the founder of Antelope; in fact, we still have Levin’s Aardvark-manufactured digital distribution clock in use at Sirius-XM.

  As with many computer recording interfaces, the analog I/O comes via a DB-25 connector/cable bundle, which saves a massive amount of chassis space and are readily available. There is also the standard SPDIF I/O as well.

  The unit has a very simple front panel, with what I would describe as micro-meters, that show all 64 (32 A/D-32 D/A) channels’ activity. You can easily spot digital overs, regardless of the small size. The Orion has five preset buttons for various setups, one for tracking, one for dubbing, one for surround etc.; more on those presets later). It also has a sample-rate selection switch and clocking indicators. All recording is done at 24-bit.

The Orion’s 32 channels of analog-to-digital conversion and digital-to-analog conversion, contained in a single rack space, is remarkable, but the feature that blows my mind is that it can record those 32 channels of audio via a single USB cable, up to 24/192.

  Overall the Orion32’s connections include: Analog Inputs are 4 x D-SUB 25 (32 channels). Digital inputs are 1 x fiber optic MADI, 2 x fiber optic ADAT, and 1 x S/PDIF. The analog outputs are 4 x DSUB (32 channels). The digital outputs are 1 x MADI, 2 x ADAT and 1 x S/PDIF. USB 2.0 I/O is via a data stream of up to 480Mbits/192 kHz. Word clock I/O includes the 1 x 10M Atomic Clock input, 1 x Word clock input and 4 x word clock outputs.

  As an all-in-one A/D/D/A with expansive connectivity, the Antelope Orion32 has impressive specifications. On the A/D side, Antelope specs 118 dB for dynamic range, and THD+N at -105db. The D/A converter is spec’d at 118 dB dynamic range and THD+N is -98 dB.

  One of the most incredible specifications is the clocking stability, due to Antelope’s fourth-generation clock with 64-bit DDS, oven-controlled crystal oscillator that puts the stability at <+/-0.02 ppm. Although in our testing we heard no audible latency, Antelope has tested the latency between 1ms-6ms, depending on user settings and sample rate.

  The selectable sample rates are: 32-, 44.1-,48-,88.2-,96-,176.4- and 192 kHz. The Orion32 ships with an Apple/PC control panel that is required to establish your input and output preferences. An Internet connection and a computer are necessary setup items for first use. But the control panel has drag and drop functionality and is very quick to get up and running.

  All this digital horsepower and channel capacity comes in a standard 19-inch rack and weighs a minuscule 6.6 pounds. It is but only 8.6 inches deep.

The setup

  While we have used other multi-track systems via USB port, the sheer volume of the Orion32’s recording ADCs to USB input is what we wanted to check out first. After connecting connected its USB cable to a Macbook Pro 2011, we downloaded the latest version of Antelope’s Orion32 software. Antelope requires an Internet connection on first launch, which prompts you through registration, as well as updates of the firmware. After all the software formalities, it was time to feed some audio to the Orion32.

  For the first test, I routed all of the ADC inputs via the USB to 32 channels of Avid ProTools 10 at 24/96 and hit record. On the back-end, we routed all the channels back to DAC 2 outputs and into a pair of ADAM S3A active studio monitors — all via Mogami balanced cables. When engaging record and hooking up a single mic and preamp for throughput and stability testing, I immediately noticed the lack of input-to-output latency in the system, which always is a concern with native processing systems. The Orion32 passed with flying colors. For the stability check, I left the Orion32 recording for two hours on the internal drive of the Macbook Pro. It did not crash, glitch or hang up in any fashion — even with all the tracks being used. This USB interface is rock solid.

Analog Connection is via DB25 Connectors

  We then scheduled a bonafide recording session with the Orion32. We used two recording setups. One was through our house system and one through the Orion32. The house setup consisted of two Schoeps omni C-6 microphones through the Sirius-XM Sony Oxford digital console’s ADCs and mic preamplifiers, fed into ProTools at 24/48 (the max rate of the Sony).

  The second setup was two Schoeps omni C-6 microphones through two Focusrite 110-A reissue preamplifiers and then into the Orion at 24/96. This obviously was not a pure apples-to-apples shoot out, but I wanted to hear the difference between the 10-year old $600,000 Sony Oxford system vs. a $3,000 multichannel recorder of today.

The audition

  Since we had the option of two monitor playback systems, we decided to have both microphone pairs up during the live performance of Stile Antico, the famed classical choir from the UK. The performance was recorded at our Sirrius-XM main performance room here in DC.

  As we switched back and forth between the two setups, I immediately noticed the difference between the old and the new. Through the Orion32, the first notes from the choir were airy, clean and detailed. The music was very life like. The frequency-extended Schoeps microphones were relayed with abundant detail on the top-end. Every “S” and breath from the choral group was like they were in the room with us. The musical “air” in the room and the low end were so much more accentuated than the audio from the old, very expensive Sony Oxford system, which has its roots in 1995 digital technology.

  In direct comparison, the Oxford sound lacked the live character of the Orion32 and had a harder edge. In one vocal section, my other engineer and I simultaneously turned to each other and said “do you here that?” There was a distinct, gritty artifact in the ultra-high range coming from the house system. But when the Orion32 was punched up, the grit was replaced by a more natural smoothness. The Orion32’s converters are indeed impressive! There have been numerous advances in converter technology since the 1990s, and the sonic improvements in dynamic range, smoothness, accuracy and lower noise are easy to hear through the Orion32. For example, some of the soprano vocals in the choir were popping with energy in the stereo mix — way more than the old Sony system. The live character of the recording cannot be overstated.

Not only did the piano and room come alive — with the myriad overtones — but also the subtle brilliance of the usually dark-sounding Steinway was much easier to pinpoint in the mix.

  After the choir left, we pulled out the Steinway D grand piano and set up a pair of the classic DPA 4011 omni-directional microphones for another listening test. This time, we used the Apple Logic recording software — via the Macbook Pro as the front end to record the audio. To capture all the brilliant nuance of the Steinway, I set the sample rate to 192 kHz and only used the Orion32 test system. The playback was absolutely vivid.

  Not only did the piano and room come alive — with the myriad overtones — but also the subtle brilliance of the usually dark-sounding Steinway was much easier to pinpoint in the mix. The nuance in the dynamics was again, as was with the choir, undeniably improved. The feeling of ‘being in the room’ with the piano was quite evident, as these converters showed no digital impurities of older systems.

  After a couple months of use, I formed a highly positive opinion of this single-rack multichannel unit A/D/D/A interface for the computer DAW. The Orion32 may just be just the perfect, modern recording system — for dedicated, hard-working home studios up to the high-end, audiophile-caliber recording studio. It can deliver a few tracks or a lot of tracks — as clean as you please.

  Another instrument that I always like to bring out for converter testing is a set of chimes, which to my ears has always been difficult to reproduce; the complex overtones that exist north of 10 kHz don’t seem to sound natural on many converters. Through the Orion32, the recordings of my chimes came through without any of the crunchy character usually heard with 16-bit or cheaper recording ADCs.

  Although the Orion32 excels in the high-class caliber of classical and jazz music, it was equally at home on pop music styles. I recorded a Fender Jazzmaster, played through a Fender Vibro-King amplifier, which has Celestion Alnico Blue speakers and fitted with hand-selected 1960’s NOS preamplifier tubes. This is a fantastic-sounding guitar rig and worthy of high-resolution recording!

Orion32's Virtual Control Panel

  I placed a Royer 121 ribbon microphone on one of the three Alnicos and recorded at 24/192, again in Logic. The sound was nearly analog heaven! This electric setup was a great example of the tube sound and how to keep that warmth that you spent so much money to create. In the past, this rig ended up sounding like a cold digital recording when using with older pro systems. Not with the Orion32; the warm character came through, yet the dynamics of the playing were obvious and very precise.

  Overall, I have no real complaints about the Orion32. In general, it was intuitive in all its setup and operation menus. Though there has been Internet discussion about stability issues, the Orion was Mr. Reliable, at least on the Mac, once the latest software was installed.

  The Orion32 has numerous features, including its handy presets. If I owned an Orion32, I would make a custom preset for the routing of a split of the ADC audio back to the DACs and feed them into our Aviom 16-channel headphone mixers — which are used throughout the studio for the guest artists. Another preset could be used as a simple 32-channel ADC/32 USB for live venue multitrack capture. Yet another preset could be an overdub setup. You get the idea. The Orion32 could be all the patch bay you would need to integrate with all your external analog (or digital) processors. Overall, though, the software control panel is just plain slick, and Antelope engineers are constantly updating it.

In my audio recording Utopian world, nothing could beat a quality analog 32-channel mixer, the Orion32 and a new Mac computer. The Antelope Orion32 is definitely worthy of the Everything Audio Network Stellar Sound Award.

  One feature that is missing from the Orion32 is channel-trim adjustment on the individual ADC inputs. The trim adjustment for each channel would enhance its use as a mobile recording rig. Many times, we get splits of a front-of-house feed after the preamps, and we are in a different location than the head mix engineer. In those cases, sometimes all we would need is a small trim — when a channel signal ends up being just a little hot. To be fair, not many computer interface recording rigs have that feature, but I put it on my wish list.

Orion32 In Action At Sirius-XM Studios in DC

  It should be noted that in all our various track allocations for the Orion32, we were never able to make it choke on the Macbook Pro with 8GB of RAM, up to the 24/192 rate. Your results on track count and sample rate would be dependent, of course, on the speed and memory of your CPU.

  Speaking of interfacing the Orion32, I was able to connect to an iPad, via the $28 accessory camera kit; you can connect the Orion directly to it via USB. I wanted to try out this functionality — more for the novelty. I suppose if you really wanted to do serious recording, you could buy the $50 iPad app, called Auria, and actually do a multitrack recording. I've seen some YouTube videos where people have done 24 tracks through the Orion32. I used it with the AudioTools application, which is a pro-level RTA (Real Time Analyzer) accessories bundle for the iPad.

Summary

  The Antelope Orion 32-channel recording interface comes into the market at a price point and size that makes the product a trail blazer. While other companies are still at 16 channels, having 32 channels of A/D and D/A in one rack space is unique. There is something here for every budget.

  And not only is the Orion32 filled with channels, this small audio box has a more powerful I/O connectivity and better sound than some of the more well-known products now being used by the audio recording community. In my audio recording Utopian world, nothing could beat a quality analog 32-channel mixer, the Orion32 and a new Mac computer. The Antelope Orion32 is definitely worthy of the Everything Audio Network Stellar Sound Award.

  Jackson Macinnis is engineering manager for Sirius-XM’s Performance Theater in Washington, DC. He also is a composer, musician and film scorer. 


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D/A Converter Preview!Benchmark Media Releases New DAC2 D:Lower Cost, Same Performance as DAC2-HGC

by John Gatski

 Benchmark Media Systems has announced a lower-cost DAC2, the DAC2 D, which costs $200 less than the highly rated DAC2 HGC that EAN reviewed last Fall. Benchmark squeezed out a lower list price, by eliminating the analog inputs and the remote 12V trigger. The DAC2 D Price is $1,799 versus the DAC2-HGC’s $1,995.

  Based on the factory info, the DAC2 D’s performance is exactly the same as the top-of-the-line HGC model — with the Sabre32, eight-channel 32-bit DAC (ES9018), DoP DSD conversion, onboard sample rate and word length indicators, UltraLock2 jitter attenuation, and asynchronous USB 2.0 audio.

  The DAC2 D also gets the same high-resolution volume control and excellent headphone amp contained in the DAC2 HGC. Other features include polarity switch, home theater bypass, multiple digital inputs, digital pass-through, and high-efficiency, low-noise power supplies.

Look Ma! No Analog Inputs

  In my view, I think the lower-cost DAC2 D is a good move for Benchmark. Though difficult to make major price reductions on USA-manufactured audio products, eliminating the analog inputs and 12V trigger ekes out a couple of hundred clams in savings — without hurting the performance. Many audiophile and pros only want to use a DAC as a DAC, and not as an analog preamp, which is the way I use them most of the time. Can’t wait to get my hands on a test sample DAC2 D. Benchmark says that the unit is already shipping, available in black and silver finishes.

©Articles on this site are the copyright of the Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

Audiophile Review!HDMI De-Embedder OffersHigh-Res Conduit For Universal Players

by John Gatski

  In the world of video and home theater, the Blu-ray player is the king of quality for video and audio, but for the audiophile, Blu-ray players (which are often universal players with DVD-A, SACD and linear PCM playback as well) can frustrate audiophiles. On many players, an owner discovers he can’t get high-res audio out the SPDIF or TOSLink jack to his upscale DAC. DVD-A and Blu-ray PCM audio is inhibited by a BD player’s internal copy-protect software, converting audio output from 24-bit to-16 bits and/or reducing the sample rate to 48 kHz.

 For example, my Oppo BDP-105 cannot play back a commercial DVD-A in full res from the SPDIF jack (the previous BDP-95 could). Nor can it output the stereo 24/192 tracks from my various Blu-ray music discs, such as 2L or AIX Records via the SPDIF. The audio is 16/48.

De-embedder to the rescue

  But do not despair; I have discovered a useful gadget that is sold through many home theater accessories stores; it is called an HDMI audio de-embedder. The de-embedder enables high-res music fans to use their high-end DACs with certain BD/universal players. The DEs relay the high-res PCM stereo audio from commercial DVD-As, Blu-ray music discs, and DSD-to-PCM from SACDs from the player’s HDMI output.

  The HDMI de-embedder takes a player’s HDMI audio stream, extracts the PCM stereo and routes it through its SPDIF output, TOSLink or RCA coax, which is then connected via cable to a digital input source — such as a DAC. The de-embedder also has an HDMI output pass-through jack that ensures audio/video compatibility with other HDMI input sources, such as a LCD, plasma, receiver, etc. The HDMI de-embedder was designed to maintain audio compatibility with devices that don’t have HDMI connections, such as old receivers, etc. An HDMI de-embedder can also output surround Dolby Digital and the core DTS surround soundtracks via the SPDIF jack.

The de-embedder enables high-res music fans to use their high-end DACs with certain BD/universal players. The DEs relay the high-res PCM stereo audio from commercial DVD-As, Blu-ray music discs, and DSD-to-PCM from SACDs from the player’s HDMI output.

  The HDMI de-embedders range from a simple one-input HDMI unit to one with multiple HDMI inputs. Their outputs include SPDIF TOSLink and/or SPDIF coax RCA; some even have up to 7.1 channels of decoded analog audio output for Dolby, DTS and linear PCM movie soundtracks.The de-embedders range in price from about $50 to a couple of thousand dollars for the more elaborate boxes that also incorporate an audio de-embedder.

  For my intended use as a BD/universal player stereo HDMI audio-to-SPDIF PCM conduit, the de-embedder boxes examined here are priced under $300; my favorite was one of the lower-cost, simple HDMI digital in/SPDIF out units, Although two of the tested de-embedders sported multichannel analog outputs, I did not really cover that feature since the focus of the article was to get HDMI audio from a BD player to a high-end stereo DAC.

Choose your player wisely

  In order to use an HDMI de-embedder with a Blu-ray player and achieve full-res signal transfer to your DAC, you must have a player that passes the audio via HDMI — without firmware copy limitations. Most Blu-ray players, especially the cheap ones, do not pass high-res audio through the HDMI, unless they see an encrypted signal from a receiving “handshake” device that tells the player to allow full-resolution audio output. This electronic “handshake” is a mandated code that was agreed upon by electronic manufacturers to prevent perfect copying of video and audio.

  Receivers, TVs, preamp/processors are the more-common devices that allow that HDMI handshake for full-res audio (and video) to be transmitted from a BD/Universal player. Once the two components talk to each other through the digital handshake, Blu-ray music soundtracks, a SACD’s DSD stream, or DVD-A music are delivered at full quality to the receiver or preamp/processor, which then routes the audio to the internal DAC.

  If you try to use a handshake-compliant player and a HDMI de-embedder with your separate DAC, you will only get “dumbed down” audio sent to your DAC that ain’t even close to hi-fi — usually 16/48. You could listen to 24-bit Blu-ray audio or DVD-As through a receiver, but that defeats the purpose of being an audiophile. Most receivers don’t sound that good, and they will not pass full-res audio via their outputs to an external DAC either.

  All Oppo players, since the BDP-80, can pass up to 24/bit/192 stereo PCM via the HDMI jack. The BDP-80, 83, 83SE, 93. 95, 103 and 105 all pass 24 bits through the HDMI, when using a de-embedder. 

  What about a dedicated audiophile DAC that has an HDMI input and supports the handshake protocol? None exist that I know of. Most DACs still rely on a SPDIF or AES/EBU XLR audio connection. Thus, if you want to successfully use your BD/universal player with an outboard DAC, you need an HDMI de-embedder and a player that bypasses the handshake.

  Luckily, there are a few players that bypass the handshake protocol and allow the full-res audio signal to escape via the HDMI (and in some cases even the SPDIF). These are the machines the audiophile can use with their big-ticket DAC and an HDMI de-embedder, the subject of this article.

  In my experience, the popular Oppo manufacturer offers the most digitally-open players on the market — in terms of an external DAC connection — and are a perfect mate for an HDMI audio de-embedder.

  All Oppo players, since the BDP-80, can pass up to 24/bit/192 stereo PCM via the HDMI jack — without the aforementioned handshake. The BDP-80, 83, 83SE, 93. 95, 103 and 105 all pass 24 bits through the HDMI, when using a de-embedder. The Lexicon-badged version, the BD-30 is the same. The Oppo BDP-93/95 players can even play commercial DVD-As full-res from their SPDIF output. (The newer 103/105 players, however, can only transmit commercial DVD-Audio from the HDMI.

Wireworld Platimum Series Audiophile HDMI Cable

   The new Marantz UD-7007 universal BD player also allows HDMI-transmitted, full-res audio from DVD-As and commercial BDs. And like the Oppo, the Marantz also allows DVD-A and data media (USB, BD and DVD-Data and portable hard drive via USB) PCM audio from the onboard SPDIF jacks. I also have confirmed that the latest Pioneer Elites and Yamaha high-end players support full-res, commercial DVD-A and data media full-res PCM audio output through HDMI and SPDIF, but no commercial Blu-ray audio output at full spec.

The set up

  I tested four de-embedders for this roundup and used them, primarily, with an Oppo BDP105 — since its HDMI audio doorway is fairly open. I played selected music cuts from music Blu-rays: Ole Bull (2L), at 24/192 and The Who - Live at the Isle of Wight 1970, a concert movie Blu-ray with dedicated stereo PCM soundtrack at 24/48. I also used the commercial DVD-A of The Eagles — Hotel California, at 24/192.

  I also played tracks downloaded from HD Tracks burned onto BD data, DVD data and USB 2.0 thumb drive. All HDMI de-embedders were measured on an Audio Precision digital signal test set to check SPDIF bit and sample rate transmission accuracy. All the units passed 24-bits, up to 192 kHz sample rate without error.

  Each of the de-embedders was connected to a Benchmark DAC2 HGC with its handy, dandy word-length and sample-rate status display, which visually indicates what the player is outputting. The Oppo’s HDMI output was connected to the de-embedder via a custom-made, 1 ft. length of Wireworld Platinum Starlight Series Flat HDMI cable. These Wireworld cables are extraordinarily transparent for audio and video. I use a 15 ft. version in my high-end home cinema setup. I used an MIT SPDIF cable to link the de-embedder and the Benchmark DAC.

Tested HDMI Audio De-Embedders

Monoprice HDX401TA

Retail Price: $43.21

Where to Buy: (factory direct)

  The Monoprice HDX401TA was the lowest-priced de-embedder that I tested, yet it contained numerous features including four HDMI inputs, HDMI throughput, TOSlink and SPDIF digital output jacks and an 1/8th inch analog stereo output jack. The price was so low I ordered two. Each unit comes with a mini-remote control so the operator can select HDMI inputs remotely, as well as mute the audio and select either 5.1 or 2.0 output from the SPDIF port. The 5.1 or 2.0 feature is for routing HDMI audio to a TV with only SPDIF audio input. If you select the 2.0 mode, the audio is sample rate limited to 48 kHz. Thus, if you use the HDX401TA as a stereo audio conduit via the SPDIF, the channel mode should be set to 5.1 to reliably relay the highest sample rates. Most de-embedders work the same way.

  The manufactured-in-China, 6-inches long x 3-inches thick metal-encased, Monoprice, sports a 5V wall wart DC power supply for electric power. One HDMI input is on the front; three are on the back along with the HDMI pass-through. The two SPDIF jacks are located next to each other. One of the Monoprice remotes arrived dead on arrival, but the company kindly sent me a replacement, and I was back in business.

  When I played The Eagles — Hotel California DVD-A into the Oppo, it initially did not pass 24/192, the native digital stereo signal of the disc. The Benchmark DAC2 HGC indicated 24/48. Huh? I quickly figured out that the unit was set to 2.0 channel output mode. When I switched the de-embedder to 5.1, the DAC’s 192 kHz LED indicator was activated and I commenced my battery of subjective and objective testing.

  My 2L Blu-ray music also played through the de-embedder at 24/192 via the selected stereo track, as did all my Blue-ray data and USB data-stored, high-res tracks from my own home-brew recordings and HD Tracks downloads. The Monoprice has a lot of features for such a low price. However, it locked to the HDMI signal a little slower than the others. The remote was a mixed bag; it was so small I kept losing it. I did really did not like it, but it is the only way you can switch between 5.1 and stereo output

  Measurement of the Monoprice digital signals confirmed its ability to transparently transmit 24-bit PCM taken from the HDMI signal and route it through the SPDIF jack in its native sample rate: my listening sessions confirmed full res as well.

  Overall, Monoprice HDX401TA IS inexpensive and has a lot of features, but the mini-remote and slow lock time put me off a bit. Still, it passed transparent audio, once the signal was locked, and it does have both TOSLink and SPDIF output. For $43 bucks, it ain’t bad!

KanexPro HAEXCOAX

Retail Price: $95.00 (as low as $65)

Where to Buy: Markertek, B and H Photo

 The most compact of the HDMI audio de-embedders in my roundup, the KanexPro is effectively simple: an HDMI input, TOSLink and SPDIF RCA digital outputs, an HDMI pass-through, a 5.1./2.0 switch, and a DC 5V power jack for the wall wart. The designed-in-USA/assembled-in-China, KanexPro HAECOAX is sturdily built, and it became my favorite HDMI box for audiophile use because of its compact size (2.5 inches by 2.5 inches) and simple I/O layout. It basically fits in line and could hang with all the other cables without needing shelf space.

  Like the others, lab measurements showed that the KanexPro passed 24-bit stereo audio perfectly. All my high-res audio samples from the 2L Blu-ray, the Hotel California DVD-A, as well as HD Tracks downloads (and my home studio recording of acoustic and jazz guitar) sounded brilliant as they passed transparently from the Oppo through the de-embedder to the Benchmark DAC2 HGC. The KanexPro HAECOAX locked on quickly to the digital signals and worked without a hitch. On the bench, measurements showed its transparency in transmitting the full-resolution PCM.

  For my audiophile stereo HDMI audio tasks, I really liked the KanexPro HAECOAX. It is a simple HDMI-in, with TOSLInk and RCA coaxial outputs — with a pass-through HDMI jack. Minimalist and effective, it is $65 on the street through various accessories dealers, such as B and H and Markertek.

Atlona HD570

Retail Price: $279 ( as low as $184)

Where To Buy: Amazon, B and H Photo

  The made-in-Tawain HD570 is a full-featured de-embedder with more inputs/outputs than the KanexPro. It may be overkill for the audiophile hi-res listener, but I included the de-embedder because it is a solid piece and readily available via numerous dealers. The unit features four HDMI inputs, an HDMI pass-through and 7.1 surround audio via four mini-jack, 1/8-inch analog outputs — two channels per jack.

  The HD570‘s major downside is its single TOSLink digital SPDIF output, which limits its usefulness for audiophiles who don’t have a TOSLink connector on their DAC or other device. Also, TOSLink also does not always support 192 kHz sampling rates. Most of the other de-embedders on the market have both SPDIF and TOSLink. I ended up having to buy an extra box that converted TOSLink SPDIF-to RCA SPDIF in order to use it with one my older DACs. 

  Even with the limited-to-TOSLink output, the Atlona HD570 performed satisfactorily as an HDMI-to-SPDIF converter, passing the Oppo-derived 24/192 signals to the Benchmark DAC via a TOSLink cable and SPDIF adapter. The onboard converter’s A/D wasn’t bad for a little box, but it definitely was not full res. The 1/8th-inch mini-jack 7.1 channel outputs are kind of funky to use with a receiver or preamp, which always have RCA inputs. You need four 1/8th-inch-to-RCA adapter cables or plug-in adapters to make it all work.

  Much better is the now-defunct, Atlona HD577 that I got in for testing a year ago, which is essentially an upgraded HD570 — with the additional SPDIF RCA digital output and 7.1 RCA analog outputs — no mini-jacks. It is housed in a bigger frame to accommodate the larger cables. And though it cost more, I preferred the HD577’s RCA SPDIF, more stable size footprint and its locking DC adapter barrel. Alas, though, the company stopped making it a few months ago. That always happens to things that I like.

The verdict

  In my small sampling of the HDMI de-embedders for hi-res audio use, they were all pretty good, converting the Oppo’s HDMI PCM signals to SPDIF output — without degrading the signal. Since I was really focused on the stereo SPDIF output and not the de-embedder’s onboard analog outputs or extra HDMI inputs, I was more drawn to the KanexPro HAECOAX for its audiophile simplicity. It is compact, robustly built, contains both TOSLink and RCA SPDIF outputs — as well as the single-HDMI input and pass-through.

  And most importantly, it converts, transparently, two-channel 24-bit, up-to 192 kHz audio from any player that passes it through the HDMI, including the mighty Oppo. To be fair, the other de-embedders passed audio transparently, but I preferred the KanexPro HAECOAX because of its non-obtrusive, compact size and sturdy feel. Plus, it synchronized a touch quicker than the others and always stayed locked in the presence of the HDMI signal. The $65 street price tag was welcome as well. Of the four HDMI de-embedders, the KanexPro HAECOAX also gets my nod for the Stellar Sound Award.

  It should be noted that there are a number of the HDMI de-embedders on the market, so if you can’t find one of these, other options are available. Just make sure they pass the 192 kHz sampling rate. I found one that was limited to 48 kHz in its specifications.

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