Thanks for the detailed explanations. This helped me a lot. There is very little information about expensive interfaces. You fill these gaps with your videos.
We had both the Avid MTRX Studio and the Antelope Galaxy 32. The Galaxy sounded great but it has issues - for instance the build quality isn't fantastic and the USB-C connector broke during installation, then the 2nd unit we received had problems with digital noise that it generated in different Line Outs. Antelope Audio potentially makes great pieces but their QC needs to be higher and their software isn't great to use. The MTRX Studio sounded amazing - but the DADman software was a huge PIA. Eventually we went with a Focusrite 16Line with and R1 controller. This thing is easy to use, has tons of flexibility and sounds amazing. No problems with the Focusrite - highly recommend!
The Rednet HD32 is a bad Focusrite interface to have in this comparison. It's a different animal compared to the Galaxy and the MTRX Studio. Comparing the Red 8Pre or Red 16Line would be an Apples to Apples comparison.
My day job is broadcast and I was floored to find that RedNet was a staple from most rental houses. They were maybe first to market? I dunno. The Ferrofish A32 has been a constant request for folks in my industry. I use a Zen Tour or an X32 Rack w/ DANTE card for my home studio. If music ever made me any money, I'd go with the Galaxy. Thank you for the nerd-y input. UPDATE:: one thing that is cool about Antelope (and requires the user to understand the difference in technologies....but not to use it) is that they use FPGA's for their effects. "What is a FPGA?" you ask? It is an acronym for "Feild Programmable Gate Array". Novation used it on their Summit keyboard. The idea being, instead of a "SHARC" processor or another DSP chip that runs a program/VST; an FPGA re-routes it's internal processor to behave just like the physical unit they are emulating....how this applies to analog kit....I have not gone down that nerd hole yet. But FPGA technology is a very interesting route for emulation. PPS:: The Ferrofish A32 can have a dual redundant PSU input, as it's designed for Broadcast/mission critical. It has a headphone out, no effects and no frills. The AD/DA is reportedly good. If you want nuts and bolts DANTE, consider this unit....it is way cheaper than the Galaxie. My Antelope Zen Tour has bogged my system down with recognizing the "Antelope Mics" and its software. Antelope has been known to flake out with software. (sorry...this has been a bit of random "chiming in" as I've watch your video).
Hi, Thanks again for the video and explanations. I am in the pricess to buy a new interface for my dolby Atmos set up. May I aak you honestly how compare the Avid matrix converters vs Antelope? Thank you
Hey man, You are welcome! I haven’t personally tested the avid converters in the studio. But I own the Galaxy 32 and the converters are phenomenal. I upgraded from the Apollo x and it’s a huge improvement. Def some of the best I have used. If you decide to go the Galaxy route make sure you use the code in the video description to get 10% off and support the channel.
right now I am using iz radar convertors 32 x32 that goes to a network switch ,my Mac goes to a network switch ,and my ntp core 256 goes to the network switch ,I wanted to add hdx to my setup, but the core 256 does not have Digi ports for the hdx card,so I was thinking I would replace the core 256 ,with either a MTRX studio or a MTRX 2, or even a focusrite rednet ,but since I am a protools user ,I like using there interfaces, this is all connected to my api console ,which gives my 56 inputs at mix ,if I go with the avid studio that would give me another 16 in and out to the api ,giving me a total of 48 in and out .or go with the MTRX 2 ,for more expansion done the lines also think that the avid HDX card is getting long in the tooth, about 10 years? Thoughts?
@zonarecordingstudio ok I understand but you are paying the same cost. So why not have it 🤷♂️ in case you grow! Check the comments in the video I have a link / code for discount. Which would bring them to same cost. Actually it would be cheaper for the Galaxy than the Avid.
In my experience if you are using protools exclusively ,there interfaces are more plug and play, and better integration with pt,so I would lean this way, but the antelope is a lot of bang for the buck ,that being said ,why did Sweetwater drop them?@@fadygergis
That's a great question only Sweetwater could answer that. just like why Sweetwater didn't agree to work with Barefoot Speakers for a long time and multiple other awesome companies. @@zonarecordingstudio
Meanwhile I just chained together two MOTU 896HD and two 828 Mk II using a Firewire 400 to Thunderbolt 3 chain of four adapters and I have 36 analog input channels at 96khz and 16 ADAT at 96khz and it costed me $800. And with Black Lion Clock and decent input stage I guarantee you cannot tell a difference in 99% of rooms to these super overpriced units.
Those Avid HDX PCIe Cards must be made out of liquid gold. At Thomann they are currently $500 more than Antelope Galaxy 32 Synergy Core itself. Add to that another $800 to $1100 to house the card in a chassis or rack for use with a Mac. The card is more than the interface 😂 Also whoever decided to omit SPDIF or AES connections on the Avid MTRX 🤦♂
@@fadygergis Just found out theres an additional $300 DigiLink I/O License as well to"Use your non-Avid DigiLink-enabled audio interfaces with a new Pro Tools | HDX or HD Native system and get the same high I/O channel count capabilities offered by our Pro Tools | HD Series interfaces." Basically Avid penalty for using third party HDX interface.
Anything HDX and Avid makes me feel ripped off as a semi professional. Expensive subscriptions, expensive hardware and the possibility that it won’t be working anymore after 7 years. Anything that works as an ecosystem with dedicated hard and software isn’t worth the waste of capital you throw at it imo. Either it is Avid, Universal Audio, IK-Multimedia or Softube any hardware that doesn’t work standalone will stop working as soon as new drivers are not being developed anymore. There have been too many times that I couldn’t update my OS because otherwise my hardware would not be working anymore. If any company has a good reputation in keeping their drivers updated and supports even for over 15 year old interfaces then it’s RME. If I invest more than two or three grand in an interface I need to be able to rely on it for at least 15 years and don’t want to see it go waisted because of some stupid driver. Translated (greed of some company)
