Recording - June 2019 - 63

you are adding extra I/O with its own
conversion. Unlike some interfaces, they
do not share, swap, or eat into your existing channel count.
The preamps are controlled digitally
from the front panel buttons and display of
the unit. They offer +48V phantom power,
a 13.6dB pad, an 80Hz 12dB/octave
highpass filter, phase, and stereo linking.
Sonically these microphone preamps
are of the neutral variety. They offer a
maximum input of 68.6dB of gain and
can easily handle low-output ribbons and
dynamic mics with clarity and ease. You
can check the Lynx website for full specs.
Note that unlike many interface preamps,
these are not an add-on or afterthought;
they hold their own with most of the highend "straight-wire with gain" competition. When you consider that you get
4-channels of high end mic pre for $699
SRP, that's only $175 per channel.

USB, Thunderbolt, Pro Tools
HD, and Dante

For computer and DAW connection,
you can choose USB, Thunderbolt, Pro
Tools | HD, or Dante. Each one lives
on an LSlot card, designed so you can
swap them out easily for different gigs.
The Aurora(n) works with Windows 7
through 10 and macOS 10.8.5 or higher. If USB equipped, you can also use
the Aurora(n) with iOS 7 or higher on
an Apple iPad 2 or newer with the iPad
Camera Connection Kit.
The software for the Aurora(n) is
simple, and in most cases (such as
Dante and Pro Tools | HD) no additional
drivers are needed. For Thunderbolt use,
there is a downloadable driver and an
included software mixer, and hot off
the presses, Lynx let me know that new
control software called NControl is on
its way, which will work with Dante,
USB, and TB.
However, this unit is also designed
to be operated efficiently from the front
panel, no software necessary.

Onboard recording through
microSD

Lastly the Aurora(n) is a true digital
recorder. When a card is inserted into
the microSD slot, you can record up to
32 channels of Broadcast WAV in any
of the unit's sample rates, no DAW necessary. A single 1TB card can record
over 66 hours of 32 channels at 96k or
132hrs for 16 channels, etc. and the Aurora will support up to a 2TB card when
available. It can record from any of the
analog or digital inputs, including USB,
Dante, TB, or Pro Tools. The files can
also be played back directly from the
unit complete with full transport controls
and jog-wheel track searching.
This is useful for tracking remote sessions and live gigs without dragging a
computer along, and/or you can use it as
a safety measure alongside your computer both live and in the studio-even for
capturing jams and ideas between takes.
Importing these files into your DAW is
as simple as dragging and dropping the
BWFs from the microSD card.

In use

Installation and setup was quick, simple, and rock solid. For review I was
sent a Thunderbolt-equipped model with
16x16 line inputs, 8x8 digital, and 4
channels of microphone preamp.
Every inch of the unit exudes quality. All
of the buttons are solid with a nice balance
of firm and spongy. The jog-dial and headphone pots are also ultra-high quality.
I was surprised at how quickly I got
the hang of the front panel controls,
and never touched the software mixer. From routing to setting up tracking

on the microSD card, it's almost easier
than setting the clock in your car!
You might remember that back in our
April 2019 issue, in my review of the
Universal Audio Apollo X, I took a bunch
of converters-including the new Aurora(n)-to Justin Perkins' Mystery Room
Mastering, which is in the Wire & Vice
studio complex in Milwaukee. Both Justin
and Wire & Vice/License Lab owner Daniel Holter lent their time and ears comparing these converters alongside an Apogee
Symphony I/O MKII, the Apollo x8p and
x16, and the D/A of Justin's Crane Song
Avocet IIA monitor controller. I should note
that Daniel popped in specifically to hear
the Aurora(n), as he was looking for 16
channels of ultra-clean and uncolored conversion to route his outboard gear collection in and out of his hybrid mixing setup.
We all agreed that the Aurora(n) was possibly the most uncolored and transparent
converter in the bunch.
Justin has used a Lynx Hilo for the past
few years for mastering, and while not entirely the same, they are sonically cut from
the same cloth. I spent half a decade tracking and mixing through the original Aurora
16, and here the Aurora(n) is a noticeable
step up. I can describe it as just as clear
and transparent as I remember, but a touch
more solid and even in tonal capture.
Conclusion
There is little not to like about the Aurora(n). If you are seeking pure, uncolored converters (and microphone preamps) that stay out of the way of your
sound, this unit is hard to beat. When
you add in the customizable configuration options, this can be the centerpiece
of any high-end recording set up for a
long time, one that can grow and morph
as your needs change.
Price: Configurations vary from
$2799 for a basic 8-channel unit up
to $6599 for 32 channels and Dante.
More from:
lynxstudio.com/products/aurora-n/
(or lynxstudio.com/custom-shop to
custom configure your own)

RECORDING June 2019

http://www.lynxstudio.com/products/aurora-n/ http://www.lynxstudio.com/custom-shop

Recording - June 2019

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