PRISM SOUND ORPHEUS - FireWire Interface 8xAnalog I/O ADAT, SPDIF, AES3
Orpheus is a FireWire interface for personal recording and sound production, for professional musicians, songwriters, engineers and producers. Orpheus is ideal for music and sound recording, production & monitoring, stem-based mastering and analogue summing.
Orpheus provides Prism Sound's renowned performance and sound quality in a dedicated FireWire unit compatible with Windows XP & Vista and MAC OS X 10.4x (Intel & PPC).
Orpheus has line, microphone and instrument inputs, good foldback and stereo or surround monitoring capabilities, ADAT and SPDIF digital I/O plus support for external MIDI devices. Microphone inputs include MS matrix processing and high-performance digital sampling-rate conversion (SRC) is available for digital inputs or outputs.
Orpheus signal path
Eight analogue input channels and up to 10 digital input channels are available (SPDIF on RCA/coax plus ADAT optical) as DAW inputs through the host's audio driver. Similarly, eight analogue output channels, up to 10 digital output channels and stereo headphone outputs can play 22 different channels. For low-latency foldback or monitoring to headphones or main outputs, each output pair (1-2, 3-4 etc) can be driven with an individual local mix of any selection of inputs through the controller applet. All inputs are electronically balanced with automatic unbalanced operation. Outputs are electronically balanced with 'bootstrapping', i.e. level is maintained if one leg is grounded.
Orpheus in brief
No-compromise, full Prism Sound audio quality
Dedicated FireWire interface
ASIO and WDM drivers provided for Windows XP and VISTA
Directly compatible with CORE AUDIO on Mac OS X 10.4+ (Intel & PPC)
Eight "Prism Sound" AD and DA channels, plus SPDIF, ADAT & headphones
Four high-end integrated mic preamps (typ.-130dBu EIN), switchable phantom
MS Matrix processing on mic inputs
Two instrument inputs
Prism Sound "Overkillers" on every channel to control transient overloads
Fully-floating (isolated) balanced architecture for optimum noise rejection
Mono or stereo input configurations
Outputs arranged as stereo pairs, each with individual mixer
Low-latency "console-quality" 8-bus digital mixer for foldback monitoring
Fader, pan, cut, solo on every mixer channel
Dual headphone outputs each with its own front-panel volume control
Front-panel master volume control, assignable to selected channels
Configurable for stereo, 5.1 or 7.1 or surround monitoring
Built-in sample rate conversion (SRC) on DIO channels
Prism Sound 4-curve SNS noise shaping on digital outputs
State-of-the-art clock generation with proprietary hybrid 2-stage DPLL
MIDI in/out ports
No-compromise, full Prism Sound audio quality
Orpheus makes no compromises on audio quality. It is the result of years of research and development into digital audio conversion and extensive dialogue with Prism Sound's customers.
The Orpheus design brief was: Get Prism Sound quality conversion and mic preamps into a 1U box at a more accessible price point. Sound quality just wasn't negotiable. Orpheus has the same no-compromise analogue front and back ends, with the same fully-balanced-throughout architecture, the same isolation barriers protecting the analogue from digital and computer interference.
Orpheus draws on Prism Sound's years of experience in developing digital audio products, including its range of audio test equipment, adopted by a wide variety of clients across the audio industry from pro-audio to consumer electronics. This experience means that Orpheus is well-behaved both as a computer peripheral and an audio processor.
Reliability is vitally important in professional recording. Prism Sound has always made extensive use of precise software calibration techniques in its converters - pots and tweaks are always unreliable, so there are none.
The design team has gone to great lengths to minimise noise and interference, in particular hum. All of the analogue circuits have galvanic isolation, while the unit's electronically balanced I/O allows it to handle common mode interference sources as well as enabling trouble-free connection to unbalanced equipment.
It is often said that THD+N figures do not always correlate well with the perception of sound quality and this is true - partly because the traditional measures of THD+N or SINAD expressed as RMS figures are rather a broad measure. With this in mind, we have taken great care to make sure that not only is the Orpheus noise and distortion spectrum beyond reproach, but the RMS distortion result measures up to the state of the art.