Prism Sound Dream ADA 128 Interview At Gearfest 2023 

I know I'd never get rid of the Burl conversion. Even if it just stays as an additional option. It has a unique sound I've grown to love very much.

​@@AudioAnimalsStudio I been thinking about the other conversation related to the GML 8200 and its lack of stepped knobs leading to recall issues in the mastering process. And my thought went thus... perhaps you could have 2 chains, one going out through the prism converters to only the GML, and then back into the box. The second stage being your current set-up. Do the eq moves on GML first and save that mix. Then send the signal to the second chain as it currently stands, through the burl converters. At the end of the mastering session keep a copy of the track with the GML moves only (The GML-only first-stage master). Thus you will have 3 versions of the mix / master: 1) original unmastered, 2) GML-only first stage master (which will be very clean because its been run through the prism converters), and 3) the final master thats been through the Burl converters and your current set-up. Hopefully any recall won't require changes to the GML settings, but will require changes somewhere else in the chain. So you would use that "first stage" master to do the recall and changes, and thus preclude having to fiddle with the GML in the recall. And technically you could split the signal after the GML. Let the main signal carry on through the chain whilst recording the GML settings only version back through the prism. I know... too much PT and a little convoluted. And also in the ideal set-up you wouldn't necessarily have the GML as the first piece in the process. But dam, that would give an excuse to have the Prism, Burl AND GML pieces whilst resolving the recall problem with the GML :)

@owlmuso this is a good idea and would work in theory. But one issue. If the client makes a small change on the mix and requires the entire mix re-run you have the issue of needing to recall the GML chain too.

@@AudioAnimalsStudio O ja, it wouldn't work for that, dam... *sad face*. O well, it was wonderful to muse. Anyway, thanks for sharing the video, as always

@@owlmusoit would make more sense to purchase the mastering version of the GML. They don’t make the 9500 anymore but they show up used time to time. Price would be cheaper and more sensible than buying two of these high end interfaces with an 8200.

I love the idea of buying one and using it for all the conversion throughout every studio.

One thing I can tell you is that the Lynx converters are awesome so if you did go down that route it would be a good one. You could look at the SPL Mercury. This may be a touch above 1k on the used market though.

I need to do a shootout on all the above to find out.

@@AudioAnimalsStudio If you want flavour, BURL can offer that, as you are very aware. Prism was the first time I had the experience of I am no longer hearing the convertor. A bit like the first time you listen to say something like big PMC's, and you struggle to make sense of the fact you are not hearing a box any longer, but just hearing a soundstage projected at some point in space in front of you. If you do go the Prism route, I would think keeping the BURLs would be a good thing. It's a bit like having multiple EQ's sometimes you want a straight wire vibe, sometimes a bit of colour and box tone. But definately do a shoot out, they are amazing products.

You would be looking at around £18,000+ for the one we want.

@@AudioAnimalsStudio yeah that's what I estimate for a chassis with 24 out 16 in and a comunication cards. Interested to hear your toughts on the unit once you'll try.

Haha, yes, I was kind of sold before walking in. I love the idea of one box doing the conversion for an entire studio complex.

I think your heart has already decided, it’s just convincing your head.