The type of instrument we are about to deal with is highly decisive for both the initial and final quality of any recording or simple reproduction of audio material. The machine subject of this test, as a class to which it belongs, should only be used to make it “coexist” in a state of the art audio chain. Lucid is by no means one of those brands that often travel around here, but in the USA it is well known and also used by leading experts. You will discover it too through these tests and I hope that this converter can be part of that group of super noble and well-known names in the professional sector where, with some exceptions, some of these machines are not worth the money they cost.
How it looks
The front panel (Fig.1) is very basic and functional with a single display where all the operations we are performing on the machine are displayed and a large rotary knob that manages the routing of the converter and the classic ignition switch. The rear panel (Fig. 2) is very neat and the first thing that catches my eye is the choice of the arrangement, designed according to a "clean" and professional working criterion, of the BEA/EBU separate for the eight channels, parallel to the I / O Data and analog. Also, we find an I / O for the Word clock and a 232 serial port. Listening test at home As described above, the connection possibilities and the intelligent routing of the LUCID allow us a wide range of possibilities and versatility, in the presence of any equipment, both in input and output. The first test I wish to carry out is the one that would be done for an audiophile magazine, sensitive and capable of great analysis and critical spirit, driven by that irrepressible need to obtain, even with great economic sacrifices, results of great sound realism. where the timbre and the acoustic scene are the masters. A tough test is therefore expected, but certainly highly effective and reliable. Clearly the section concerned for this test is that of the DA conversion.
I put the LUCID into my personal audio chain, worthy audiophile, including the REGA PLANET reader, using in this case only the mechanics connected via a coaxial cable of the block, then exiting with AES / EBU to enter the Pre and Final MUSICAL FIDELTY X-PRE, to arrive then, through the excellent liquid conduction cables of the SHIMPY, to the beautiful ones (Fig. 3): let's face it, a very respectable audio chain (to premise that there will clearly also be a real comparison with the converters of my above mentioned CD player). Just to be picky the REGA PLANET is a reader worth around 3.000 euros. Listening to the various productions of different genres and nationalities, I immediately felt a great push from the LUCID so much that I had to lower the volume of my PRE by at least half from the usual position (first positive aspect: considerable headroom) and believe me I don't remember another converter with this dynamic. Going to consult the specifications we are around 140dB. Incredibly, the acoustic scene with any song becomes wider and more defined so as to notice a little more of the particular ghost and harmonic sounds of the arrangements (second aspect: analytical and revealing). Furthermore, the low range, in particular the pizzicato double bass and the kick of the drums (bass drum), acquire more attack but without dynamic flaring, in the sense that it does not come loose but clearly lets you feel the amount of compression used in the piece. The mids are present and defined, also endowed with depth without any flattening and believe me when I tell you that the music "is there to be heard". The highs, on the other hand, are returned very quickly and appear in the acoustic scene with a large aperture and without harshness (third aspect: remarkable speed of response to even the most critical transients). Noise is non-existent and we could only measure it (fourth aspect: silent). In conclusion we can say that the LUCID 88192 gives a real touch of class. The precious blend of velvety analyticity, superb transparency, complete and never baroque tonal balance, with an excellent dynamic contrast, is evident. All these superfine virtues, rare to find in the production sector, have the effect of making the sound generator system disappear in the short span of a few minutes, so that the editor forgets the subject of his article and ends up talking about that record. .
Listening test in the studio
Monday 21 January, 21.30 pm: phone call home. "Hi Antonio I'm Rino Morra, you can lend me the converter, we have had an important job commissioned for third parties, your friend Luigi Circiello is also in this project as a sound engineer." A: “There is no problem. Come home tomorrow to collect everything, I will take the opportunity to compare my impressions with the professionals present in the studio. " The sound engineer on duty, having the need to mix 16 audio tracks directly on the desk, in the old fashioned way, needed a “real pasta” since it was a rock quartet. There is nothing better than the filters of an English analog console Soundcraft 3200 (Fig. 4).
The sound card in the studio is one Motu 896 HD with 8 analog and 8 ADAT outputs plus 1 AES / EBU. For this type of work a fairly simple but effective audio path was decided: the 8 analog outputs of the 88192 were connected to the mixer, while the 8 digital ADAT format of the 896 HD to the Lucid converting them into 8 analog outputs which, in turn , have been connected to the console. Once all the set up was wired, the machine gave its best when it got the clock from mine Apogee Big Ben (Fig. 5), which moreover governs the clock of all connected digital machines. Also in this case you immediately get the impression of a professional product, of those that do not get you drunk at first sight but that gratify you day by day, use by use, returning mixes never confused by mixed sounds, as the converters sound sufficiently neutral and precise with a good dose of openness and respectful of the input source. The lows are always solid, never smudged, the mids detailed and round and the highs free, three-dimensional and never harsh. Compared, however, to the Apogee converters present in the studio (Rosette 200) lack that "analogy" in some musical contexts (rock, pop, sincere and authentic blues), as the latter give back that warmer, more analog sound, almost as if it came from a tape without impurities. But this "limit" can be in many cases an advantage especially in those musical contexts where a "transparent" sound of undoubted quality and precision is unquestionably needed. In this specific case, even if the product had to maintain a very vintage and analogue taste and sound paste, it was preferred in the end to pour everything on two channels of the 88192, as both the mixer and the outboards in the room had character to sell. and, consequently, it was decided not to give a further color to the signal.
Conclusions
I realized through in-depth listening, how this illustrious "unknown" provides an audio result that goes far beyond his brand which in Italy is still, unfortunately, "anonymous". Hear! Hear! Production is at home SYMETRIX extension, remember the old and glorious 528 (Fig.6) that literally anticipated the culture of the professional channel-strip? Dear gentlemen, the "world is now digital" ... unfortunately! The converters have the heavy duty of transferring the true analog into digital data, then if all this is done with a machine like our LUCID, the results will be satisfactory to say the least.
Let's face it, there are 24bit and 24bit and those provided by the LUCID are not bad. I recommend the 88192 to all those professionals and even semi-pros who have not been satisfied with their converter, be it integrated into the DAW or separate. To make the most of the remarkable characteristics of this object it is not advisable to integrate it with inadequate or poor quality preamps or hardware. Expressing a few more measure comments, we say that the frequency response is very linear for both emphasized and non-emphasized signals; crosstalk remains at very high levels over the entire range; the input and output impedance makes this converter compatible with any equipment even with the less noble ones, however it is better to interface it with those “worthy” beyond the tastes; distortions are very low indeed. Dynamic range is certainly the highlight of the LUCID converter; the signal / noise ratio has excellent values, confirming the silence of the circuit. Overall, therefore, the performances are truly remarkable, also reminding you that the LUCID offers them on eight channels. A technologically advanced object, but obviously reliable and convincing on a musical level, like a well-tested vehicle from which we could expect nothing but the best. It's not often that a music machine gets so blatantly at the center of attention. Not happy, I wanted to involve other professionals and collaborators (Fig.7) to find positive or negative confirmations.
Some of these testimonies have found in LUCID a great neutrality and precision, others of them because of this too much neutrality consider it not very musically "warm". Personally I think the LUCID is a rather sensitive converter to the type of audio chain and I don't think at all that it is up to the converter to offer character. If you look for it, the microphone first of all, the preamplifier, the amplifier or the speakers can easily provide for this. I think the converter is comparable to a camera lens that just needs to capture as much definition as possible. Then, if for other reasons, you want to customize it or deliberately "dirty", we can choose to print the photo on particular types of paper or with particular colors. The final judgment remains very positive for the sound qualities, for the sobriety of the design, for the simplicity of the management software, for the overall professionalism of the project. The management software is simple but complete (I never had to open the manual to check its functionality). For my expectations I would have preferred a direct connection to the DAW, perhaps with a PCI card (express for me) and a firewire with the software management of the routine, but it seems that this gap will soon be filled. I conclude by saying that with this digital electronics the password is absolute transparency, very high resolution even at minimum signal levels and a perfect timbre balance, capable of revealing every detail of the musical message without giving the impression of "forcing" execution. The defect? I can tell you two completely questionable as they are only opinions belonging to the sphere of personal taste: if you are looking for any sort of forced characterization, the LUCID is not the converter for you, as it could leave disappointed those who, while using it, expect sensations " strong "or particular colors. As they say in audiophile jargon, it gave the impression of "not playing", in the sense of not adding anything extra to the musical program. This statement to some may resemble a hidden defect, while for others it is an added value. I, as already stated, belong to the latter. In these cases, when a machine presents measuring-proof performance results, therefore made up of excellent components put together by a serious project, the choice becomes a matter of taste. This time I really conclude and I do it with an outlet: is it possible that digital equipment, however well conceived, must always cost so much, leaving us after a very short period of time to compare them paradoxically from all points of view (economic and performing) with the new models of the same device that manage to offer double the performance at half price? This outburst could represent another defect but clearly it is not aimed exclusively at LUCID, but at the digital world in general. Have you ever opened digital equipment? In the end we find ourselves asking: what did I buy? There is nothing here ... did they "pack" me ...? And to think that friend sold that microphone from the "60s" at an amazing price. Yeah! The harsh reality is just that. I just have to appreciate the fact that the LUCID, for the same price, offers the same professional quality as that other converter of only two channels. This might be a good reason to go and try it on at your local shop.
Look at the internal architecture
The use of external converters opens the panorama to a whole series of problems such as the synchronism between the various digital parts (master clock) and the fact that today technological progress is so fast that today's reference technology, already tomorrow (" tomorrow "real and not metaphorical) is present in prosumer if not consumer products. Already today in quality sound cards we find converters and components of absolute reference. In a home and / or project studio it is advisable to invest your money in a choice of this type or, having taken a good sound card (which, if we exclude the microphone preamps or other utilities, is an audio converter with direct interface for PC), reserve the rest of the budget for other equipment that can make a greater difference for the same investment? Lucid from the Latin lux “light”: it is precisely in this section that we also highlight the interior of our device that we have tested, analyzing, but without boring you, some main components that determine impeccable sound quality. Let's start with the front panel, well cared for and sober with a well-made and clear central display. Opening it (Fig.8) known a very high engineering (similar to that observed in the construction of computers), on the other hand, being converters it could not be different.
At first glance the components used are absolute reference standards such as Cirrus Logic, Analog device,Texas Instrument, which coupled with an excellent circuitry and an impeccable project, are certainly responsible for the final result. Going into more detail and analyzing the audio path more accurately, the integrated ones immediately catch our eye Cirrus mod. CS 5381 (Fig.9), which perform the task of analog / digital converters and anti-alias filter, at 24 bits per channel, with a sampling exceeding 200Khz per channel. Furthermore, the ADC is made up of a differentiated architecture model with an excellent signal-to-noise ratio; the chip is then added Pga 2311u by Texax Instruments that adjusts the input signal levels. Finally there are passive components (resistors, capacitors with very low tolerances). The “Analog Device” manufacturer is a well-known American company specializing in very high quality chips; in our Lucid we find theADSP BF 532 (Fig.10) whose task is to control and manage signals with integrated software: it could be defined as a small computer within an audio system. This single chip processor is specific for Multimedia applications and digital communications and has a multipliers 16 bit, two 40-bit Alu's, 4 Alu 8 bit video, two 40-bit accumulators and one 40-bit shifter. We do not immerse ourselves too much in the electronic abysses of this, but we can tell you that the programming is entrusted to a facilitated software environment deriving from the C++ or the Visual DSP ++ native from Analog Devices and the programming kit (trial version) can be downloaded from the website www.analog.com/processors/VisualDSP/testDrive.html
USEFUL INFORMATION:
Producer: Symetrix
Model: Gloss 88192
Website: www.lucidaudio.com
Distributor: www.feel.it
Price: 3.280,00 + VAT
Photo of the converter Gloss 88192
The type of instrument we are about to deal with is highly decisive for both the initial and final quality of any recording or simple reproduction of audio material. The machine subject of this test, as a class to which it belongs, should only be used to make it “coexist” in a state of the art audio chain. Lucid is by no means one of those brands that often travel around here, but in the USA it is well known and also used by leading experts. You will discover it too through these tests and I hope that this converter can be part of that group of super noble and well-known names in the professional sector where, with some exceptions, some of these machines are not worth the money they cost.
What is presented:
The front panel (fig. 1) is very spartan and functional, with a single display showing all the operations we are performing on the machine and a large rotary knob that manages the converter routing and the classic power switch. The rear panel (fig. 2) is very tidy, and the first thing that catches my eye is the choice of layout, designed according to a "clean" and professional working criterion, of the separate AES/EBU for the eight channels, parallel to the Adat and analog I/O. Furthermore, we find an I/O for the Word Clock and a 232 serial port. Listening test at home As described above, the LUCID's connection options and highly intelligent routing allow us a wide range and versatility, compared to any device, both in input and output. The first test I'd like to conduct is one that would be performed for a magazine of audiophiles, sensitive and capable of deep analysis and critical thinking, driven by the irrepressible desire to achieve, even at great financial expense, results of great sonic realism where timbre and soundstage dominate. It therefore promises to be a tough test, but one that is certainly highly effective and reliable. Clearly, the relevant section for this review is that of DA conversion.
I insert the LUCID into my personal audio chain, worthy of audiophile, including the REGA PLANET player, in this case using only the transport connected via a Klotz coaxial cable, then exiting with AES/EBU to enter the MUSICAL FIDELTY X-PRE pre and power amplifier, to then arrive, via some excellent liquid-conducting cables from SHIMPY, at the beautiful ones (fig. 3): let's face it, a very respectable audio chain (it should be noted that there will obviously also be a real comparison with the converters of my aforementioned CD player). Just to be picky, the REGA PLANET is a player costing around 3.000 euros. Listening to the various productions of different genres and nationalities, I immediately felt a great push from the LUCID, so much so that I had to lower the volume of my PRE by at least half from the usual position (first positive aspect: considerable headroom) and believe me I don't remember another converter with this dynamic range. Going to consult the specifications we are around 140dB. Incredibly, the acoustic stage becomes wider and more defined with any song, so much so that I'm more aware of the particular ghost sounds and harmonics of the arrangements (second aspect: analytical and revealing). Furthermore, the low range, particularly the plucked double bass and the kick drum, gain more attack but without dynamic flakiness, meaning it doesn't come apart but rather clearly lets the amount of compression used in the song be felt. The mids are present and defined, also endowed with depth without any flattening, and believe me when I say that the music "is there to be heard." The highs, on the other hand, are returned extremely quickly and present themselves in the acoustic stage with great openness and without harshness (third aspect: remarkable speed of response to even the most critical transients). Noise is non-existent and we could only measure it (fourth aspect: silent). In conclusion, we can say that the LUCID 88192 adds a real touch of class. The exquisite blend of velvety analyticity, superb transparency, complete and never baroque tonal balance, and excellent dynamic contrast is evident. All these exquisite qualities, rare in the production world, have the effect of making the sound system disappear in the space of a few minutes, so much so that the editor forgets the subject of his article and ends up talking about that album.
Studio listening test:
Monday, January 21, 9:30 PM: Call home. “Hi Antonio, I'm Rino Morra. Can you lend me the converter? We've commissioned a major job for a third party. Your friend Luigi Circiello is also working on this project as the sound engineer.” A: “No problem. Come by my house tomorrow to pick everything up. I'll take the opportunity to compare my impressions with the studio staff.” The sound engineer on duty, needing to mix 16 audio tracks directly on the mixing desk, the old-fashioned way, needed some serious mixing expertise, considering it was a rock quartet. There's nothing better than the filters on an English Soundcraft 3200 analog console (fig. 4).
The sound card in the studio is a Motu 896 HD with 8 analog outputs and 8 ADAT outputs plus 1 AES/EBU output. For this type of work, a fairly simple yet effective audio path was chosen: the 8 analog outputs of the 88192 were connected to the mixer, while the 8 digital ADAT outputs of the 896 HD were connected to the Lucid, converting them into 8 analog outputs, which, in turn, were connected to the console. Once the entire setup was wired, the machine gave its best when it received its clock from my Big Ben (fig. 5), which also controls the clock of all the connected digital machines. Even in this case, you immediately get the impression of a professional product, one that doesn't intoxicate you at first sight but that rewards you day after day, use after use, delivering mixes that are never muddy, as the converters sound sufficiently neutral and precise with a good dose of openness and respectful of the input source. The bass is always solid, never blurry, the mids are detailed and rounded, and the highs are clear, three-dimensional, and never harsh. Compared to the Apogee converters in the studio (Rosetta 200), however, they lack that "analogness" in some musical contexts (rock, pop, blues), as the latter deliver a warmer, more analog sound, almost as if it were coming from a tape without impurities. But this "limitation" can in many cases be an advantage, especially in those musical contexts where a "transparent" sound of unquestionable quality and precision is unquestionably required. In this specific case, even though the product needed to maintain a very vintage and analog flavor and sound texture, it was ultimately decided to output everything to two channels of the 88192, as both the mixer and the outboard equipment in the room had plenty of character, and consequently, it was decided not to add any further coloration to the signal.
Conclusions:
I realized through in-depth listening, how this illustrious "unknown" provides an audio result that goes far beyond its brand which in Italy is still, unfortunately, "anonymous". Hear! Hear! The production is by SYMETRIX, remember the old and glorious 528 (Fig.6) that literally anticipated the culture of the professional channel-strip? Dear gentlemen, the "world is now digital" ... unfortunately! The converters have the heavy duty of transferring the true analog into digital data, then if all this is done with a machine like our LUCID, the results will be satisfactory to say the least.
Let's face it, there are 24bit and 24bit and those provided by the LUCID are not bad. I recommend the 88192 to all those professionals and even semi-pros who have not been satisfied with their converter, be it integrated into the DAW or separate. To make the most of the remarkable characteristics of this object it is not advisable to integrate it with inadequate or poor quality preamps or hardware. Expressing a few more measure comments, we say that the frequency response is very linear for both emphasized and non-emphasized signals; crosstalk remains at very high levels over the entire range; the input and output impedance makes this converter compatible with any equipment even with the less noble ones, however it is better to interface it with those “worthy” beyond the tastes; distortions are very low indeed. Dynamic range is certainly the highlight of the LUCID converter; the signal / noise ratio has excellent values, confirming the silence of the circuit. Overall, therefore, the performances are truly remarkable, also reminding you that the LUCID offers them on eight channels. A technologically advanced object, but obviously reliable and convincing on a musical level, like a well-tested vehicle from which we could expect nothing but the best. It's not often that a music machine gets so blatantly at the center of attention. Not happy, I wanted to involve other professionals and collaborators (Fig.7) to find positive or negative confirmations. Some of these testimonies have found in LUCID a great neutrality and precision, others of them because of this too much neutrality consider it not very musically "warm". Personally I think the LUCID is a rather sensitive converter to the type of audio chain and I don't think at all that it is up to the converter to offer character. If you look for it, the microphone first of all, the preamplifier, the amplifier or the speakers can easily provide for this. I think the converter is comparable to a camera lens that just needs to capture as much definition as possible. Then, if for other reasons, you want to customize it or deliberately "dirty", we can choose to print the photo on particular types of paper or with particular colors. The final judgment remains very positive for the sound qualities, for the sobriety of the design, for the simplicity of the management software, for the overall professionalism of the project. The management software is simple but complete (I never had to open the manual to check its functionality). For my expectations I would have preferred a direct connection to the DAW, perhaps with a PCI card (express for me) and a firewire with the software management of the routine, but it seems that this gap will soon be filled. I conclude by saying that with this digital electronics the password is absolute transparency, very high resolution even at minimum signal levels and a perfect timbre balance, capable of revealing every detail of the musical message without giving the impression of "forcing" execution. The defect? I can tell you two completely questionable as they are only opinions belonging to the sphere of personal taste: if you are looking for any sort of forced characterization, the LUCID is not the converter for you, as it could leave disappointed those who, while using it, expect sensations " strong "or particular colors. As they say in audiophile jargon, it gave the impression of "not playing", in the sense of not adding anything extra to the musical program. This statement to some may resemble a hidden defect, while for others it is an added value. I, as already stated, belong to the latter. In these cases, when a machine presents measuring-proof performance results, therefore made up of excellent components put together by a serious project, the choice becomes a matter of taste. This time I really conclude and I do it with an outlet: is it possible that digital equipment, however well conceived, must always cost so much, leaving us after a very short period of time to compare them paradoxically from all points of view (economic and performing) with the new models of the same device that manage to offer double the performance at half price? This outburst could represent another defect but clearly it is not aimed exclusively at LUCID, but at the digital world in general. Have you ever opened digital equipment? In the end we find ourselves asking: what did I buy? There is nothing here ... did they "pack" me ...? And to think that friend sold that microphone from the "60s" at an amazing price. Yeah! The harsh reality is just that. I just have to appreciate the fact that the LUCID, for the same price, offers the same professional quality as that other converter of only two channels. This might be a good reason to go and try it on at your local shop.
Look at the internal architecture:
The use of external converters opens the panorama to a whole series of problems such as the synchronism between the various digital parts (master clock) and the fact that today technological progress is so fast that today's reference technology, already tomorrow (" tomorrow "real and not metaphorical) is present in prosumer if not consumer products. Already today in quality sound cards we find converters and components of absolute reference. In a home and / or project studio it is advisable to invest your money in a choice of this type or, having taken a good sound card (which, if we exclude the microphone preamps or other utilities, is an audio converter with direct interface for PC), reserve the rest of the budget for other equipment that can make a greater difference for the same investment? Lucid from the Latin lux “light”: it is precisely in this section that we also highlight the interior of our device that we have tested, analyzing, but without boring you, some main components that determine impeccable sound quality. Let's start with the front panel, well cared for and sober with a well-made and clear central display. Opening it (Fig.8) known a very high engineering (similar to that observed in the construction of computers), on the other hand, being converters it could not be different.
At first glance, the components used are absolute reference standards such as Cirrus Logic, Analog Device, Texas Instruments, which, combined with excellent circuitry and an impeccable design, are certainly responsible for the final result. Going into more detail and analyzing the audio path more accurately, the integrated circuits immediately catch our eye. Cirrus mod. CS 5381 (Fig.9), which perform the task of analog / digital converters and anti-alias filter, at 24 bits per channel, with a sampling exceeding 200Khz per channel. Furthermore, the ADC is made up of a differentiated architecture model with an excellent signal-to-noise ratio; the chip is then added Pga 2311u by Texax Instruments that adjusts the input signal levels. Finally there are passive components (resistors, capacitors with very low tolerances). The “Analog Device” manufacturer is a well-known American company specializing in very high quality chips; in our Lucid we find theADSP BF 532 (Fig.10) whose task is to control and manage signals with integrated software: it could be defined as a small computer inside an audio system. This single-chip processor is specific for multimedia applications and digital communications and has 16-bit multipliers, two 40-bit ALUs, four 8-bit video ALUs, two 40-bit accumulators and a 40-bit shifter. We won't dive too deep into the electronic depths of this, but we can tell you that programming is entrusted to a simplified software environment derived from C++, namely the native Visual DSP++ from Analog Devices, and the programming kit (trial version) can be downloaded from the website. www.analog.com/processors/VisualDSP/testDrive.html
USEFUL INFORMATION:
Producer: ChanderLimited
Model: Gloss 88192
Website: www.lucidaudio.com
Distributor: www.feel.it
Price: 3.280,00 + VAT
Article published in CM2 Magazine.
The type of instrument we are about to deal with is highly decisive for both the initial and final quality of any recording or simple reproduction of audio material. The machine subject of this test, as a class to which it belongs, should only be used to make it “coexist” in a state of the art audio chain. Lucid is by no means one of those brands that often travel around here, but in the USA it is well known and also used by leading experts. You will discover it too through these tests and I hope that this converter can be part of that group of super noble and well-known names in the professional sector where, with some exceptions, some of these machines are not worth the money they cost.
What is presented:
The front panel (fig. 1) is very spartan and functional, with a single display showing all the operations we are performing on the machine and a large rotary knob that manages the converter routing and the classic power switch. The rear panel (fig. 2) is very tidy, and the first thing that catches my eye is the choice of layout, designed according to a "clean" and professional working criterion, of the separate AES/EBU for the eight channels, parallel to the Adat and analog I/O. Furthermore, we find an I/O for the Word Clock and a 232 serial port. Listening test at home As described above, the LUCID's connection options and highly intelligent routing allow us a wide range and versatility, compared to any device, both in input and output. The first test I'd like to conduct is one that would be performed for a magazine of audiophiles, sensitive and capable of deep analysis and critical thinking, driven by the irrepressible desire to achieve, even at great financial expense, results of great sonic realism where timbre and soundstage dominate. It therefore promises to be a tough test, but one that is certainly highly effective and reliable. Clearly, the relevant section for this review is that of DA conversion.
I insert the LUCID into my personal audio chain, worthy of audiophile, including the REGA PLANET player, in this case using only the transport connected via a Klotz coaxial cable, then exiting with AES/EBU to enter the MUSICAL FIDELTY X-PRE pre and power amplifier, to then arrive, via some excellent liquid-conducting cables from SHIMPY, at the beautiful ones (fig. 3): let's face it, a very respectable audio chain (it should be noted that there will obviously also be a real comparison with the converters of my aforementioned CD player). Just to be picky, the REGA PLANET is a player costing around 3.000 euros. Listening to the various productions of different genres and nationalities, I immediately felt a great push from the LUCID, so much so that I had to lower the volume of my PRE by at least half from the usual position (first positive aspect: considerable headroom) and believe me I don't remember another converter with this dynamic range. Going to consult the specifications we are around 140dB. Incredibly, the acoustic stage becomes wider and more defined with any song, so much so that I'm more aware of the particular ghost sounds and harmonics of the arrangements (second aspect: analytical and revealing). Furthermore, the low range, particularly the plucked double bass and the kick drum, gain more attack but without dynamic flakiness, meaning it doesn't come apart but rather clearly lets the amount of compression used in the song be felt. The mids are present and defined, also endowed with depth without any flattening, and believe me when I say that the music "is there to be heard." The highs, on the other hand, are returned extremely quickly and present themselves in the acoustic stage with great openness and without harshness (third aspect: remarkable speed of response to even the most critical transients). Noise is non-existent and we could only measure it (fourth aspect: silent). In conclusion, we can say that the LUCID 88192 adds a real touch of class. The exquisite blend of velvety analyticity, superb transparency, complete and never baroque tonal balance, and excellent dynamic contrast is evident. All these exquisite qualities, rare in the production world, have the effect of making the sound system disappear in the space of a few minutes, so much so that the editor forgets the subject of his article and ends up talking about that album.
Studio listening test:
Monday, January 21, 9:30 PM: Call home. “Hi Antonio, I'm Rino Morra. Can you lend me the converter? We've commissioned a major job for a third party. Your friend Luigi Circiello is also working on this project as the sound engineer.” A: “No problem. Come by my house tomorrow to pick everything up. I'll take the opportunity to compare my impressions with the studio staff.” The sound engineer on duty, needing to mix 16 audio tracks directly on the mixing desk, the old-fashioned way, needed some serious mixing expertise, considering it was a rock quartet. There's nothing better than the filters on an English Soundcraft 3200 analog console (fig. 4).
The sound card in the studio is a Motu 896 HD with 8 analog outputs and 8 ADAT outputs plus 1 AES/EBU output. For this type of work, a fairly simple yet effective audio path was chosen: the 8 analog outputs of the 88192 were connected to the mixer, while the 8 digital ADAT outputs of the 896 HD were connected to the Lucid, converting them into 8 analog outputs, which, in turn, were connected to the console. Once the entire setup was wired, the machine gave its best when it received its clock from my Big Ben (fig. 5), which also controls the clock of all the connected digital machines. Even in this case, you immediately get the impression of a professional product, one that doesn't intoxicate you at first sight but that rewards you day after day, use after use, delivering mixes that are never muddy, as the converters sound sufficiently neutral and precise with a good dose of openness and respectful of the input source. The bass is always solid, never blurry, the mids are detailed and rounded, and the highs are clear, three-dimensional, and never harsh. Compared to the Apogee converters in the studio (Rosetta 200), however, they lack that "analogness" in some musical contexts (rock, pop, blues), as the latter deliver a warmer, more analog sound, almost as if it were coming from a tape without impurities. But this "limitation" can in many cases be an advantage, especially in those musical contexts where a "transparent" sound of unquestionable quality and precision is unquestionably required. In this specific case, even though the product needed to maintain a very vintage and analog flavor and sound texture, it was ultimately decided to output everything to two channels of the 88192, as both the mixer and the outboard equipment in the room had plenty of character, and consequently, it was decided not to add any further coloration to the signal.
Conclusions:
I realized through in-depth listening, how this illustrious "unknown" provides an audio result that goes far beyond its brand which in Italy is still, unfortunately, "anonymous". Hear! Hear! The production is by SYMETRIX, remember the old and glorious 528 (Fig.6) that literally anticipated the culture of the professional channel-strip? Dear gentlemen, the "world is now digital" ... unfortunately! The converters have the heavy duty of transferring the true analog into digital data, then if all this is done with a machine like our LUCID, the results will be satisfactory to say the least.
Let's face it, there are 24bit and 24bit and those provided by the LUCID are not bad. I recommend the 88192 to all those professionals and even semi-pros who have not been satisfied with their converter, be it integrated into the DAW or separate. To make the most of the remarkable characteristics of this object it is not advisable to integrate it with inadequate or poor quality preamps or hardware. Expressing a few more measure comments, we say that the frequency response is very linear for both emphasized and non-emphasized signals; crosstalk remains at very high levels over the entire range; the input and output impedance makes this converter compatible with any equipment even with the less noble ones, however it is better to interface it with those “worthy” beyond the tastes; distortions are very low indeed. Dynamic range is certainly the highlight of the LUCID converter; the signal / noise ratio has excellent values, confirming the silence of the circuit. Overall, therefore, the performances are truly remarkable, also reminding you that the LUCID offers them on eight channels. A technologically advanced object, but obviously reliable and convincing on a musical level, like a well-tested vehicle from which we could expect nothing but the best. It's not often that a music machine gets so blatantly at the center of attention. Not happy, I wanted to involve other professionals and collaborators (Fig.7) to find positive or negative confirmations. Some of these testimonies have found in LUCID a great neutrality and precision, others of them because of this too much neutrality consider it not very musically "warm". Personally I think the LUCID is a rather sensitive converter to the type of audio chain and I don't think at all that it is up to the converter to offer character. If you look for it, the microphone first of all, the preamplifier, the amplifier or the speakers can easily provide for this. I think the converter is comparable to a camera lens that just needs to capture as much definition as possible. Then, if for other reasons, you want to customize it or deliberately "dirty", we can choose to print the photo on particular types of paper or with particular colors. The final judgment remains very positive for the sound qualities, for the sobriety of the design, for the simplicity of the management software, for the overall professionalism of the project. The management software is simple but complete (I never had to open the manual to check its functionality). For my expectations I would have preferred a direct connection to the DAW, perhaps with a PCI card (express for me) and a firewire with the software management of the routine, but it seems that this gap will soon be filled. I conclude by saying that with this digital electronics the password is absolute transparency, very high resolution even at minimum signal levels and a perfect timbre balance, capable of revealing every detail of the musical message without giving the impression of "forcing" execution. The defect? I can tell you two completely questionable as they are only opinions belonging to the sphere of personal taste: if you are looking for any sort of forced characterization, the LUCID is not the converter for you, as it could leave disappointed those who, while using it, expect sensations " strong "or particular colors. As they say in audiophile jargon, it gave the impression of "not playing", in the sense of not adding anything extra to the musical program. This statement to some may resemble a hidden defect, while for others it is an added value. I, as already stated, belong to the latter. In these cases, when a machine presents measuring-proof performance results, therefore made up of excellent components put together by a serious project, the choice becomes a matter of taste. This time I really conclude and I do it with an outlet: is it possible that digital equipment, however well conceived, must always cost so much, leaving us after a very short period of time to compare them paradoxically from all points of view (economic and performing) with the new models of the same device that manage to offer double the performance at half price? This outburst could represent another defect but clearly it is not aimed exclusively at LUCID, but at the digital world in general. Have you ever opened digital equipment? In the end we find ourselves asking: what did I buy? There is nothing here ... did they "pack" me ...? And to think that friend sold that microphone from the "60s" at an amazing price. Yeah! The harsh reality is just that. I just have to appreciate the fact that the LUCID, for the same price, offers the same professional quality as that other converter of only two channels. This might be a good reason to go and try it on at your local shop.
Look at the internal architecture:
The use of external converters opens the panorama to a whole series of problems such as the synchronism between the various digital parts (master clock) and the fact that today technological progress is so fast that today's reference technology, already tomorrow (" tomorrow "real and not metaphorical) is present in prosumer if not consumer products. Already today in quality sound cards we find converters and components of absolute reference. In a home and / or project studio it is advisable to invest your money in a choice of this type or, having taken a good sound card (which, if we exclude the microphone preamps or other utilities, is an audio converter with direct interface for PC), reserve the rest of the budget for other equipment that can make a greater difference for the same investment? Lucid from the Latin lux “light”: it is precisely in this section that we also highlight the interior of our device that we have tested, analyzing, but without boring you, some main components that determine impeccable sound quality. Let's start with the front panel, well cared for and sober with a well-made and clear central display. Opening it (Fig.8) known a very high engineering (similar to that observed in the construction of computers), on the other hand, being converters it could not be different.
At first glance, the components used are absolute reference standards such as Cirrus Logic, Analog Device, Texas Instruments, which, combined with excellent circuitry and an impeccable design, are certainly responsible for the final result. Going into more detail and analyzing the audio path more accurately, the integrated circuits immediately catch our eye. Cirrus mod. CS 5381 (Fig.9), which perform the task of analog / digital converters and anti-alias filter, at 24 bits per channel, with a sampling exceeding 200Khz per channel. Furthermore, the ADC is made up of a differentiated architecture model with an excellent signal-to-noise ratio; the chip is then added Pga 2311u by Texax Instruments that adjusts the input signal levels. Finally there are passive components (resistors, capacitors with very low tolerances). The “Analog Device” manufacturer is a well-known American company specializing in very high quality chips; in our Lucid we find theADSP BF 532 (Fig.10) whose task is to control and manage signals with integrated software: it could be defined as a small computer inside an audio system. This single-chip processor is specific for multimedia applications and digital communications and has 16-bit multipliers, two 40-bit ALUs, four 8-bit video ALUs, two 40-bit accumulators and a 40-bit shifter. We won't dive too deep into the electronic depths of this, but we can tell you that programming is entrusted to a simplified software environment derived from C++, namely the native Visual DSP++ from Analog Devices, and the programming kit (trial version) can be downloaded from the website. www.analog.com/processors/VisualDSP/testDrive.html
USEFUL INFORMATION:
Producer: ChanderLimited
Model: Gloss 88192
Website: www.lucidaudio.com
Distributor: www.feel.it
Price: 3.280,00 + VAT
Article published in CM2 Magazine.
The type of instrument we are about to deal with is highly decisive for both the initial and final quality of any recording or simple reproduction of audio material. The machine subject of this test, as a class to which it belongs, should only be used to make it “coexist” in a state of the art audio chain. Lucid is by no means one of those brands that often travel around here, but in the USA it is well known and also used by leading experts. You will discover it too through these tests and I hope that this converter can be part of that group of super noble and well-known names in the professional sector where, with some exceptions, some of these machines are not worth the money they cost.
What is presented:
The front panel (fig. 1) is very spartan and functional, with a single display showing all the operations we are performing on the machine and a large rotary knob that manages the converter routing and the classic power switch. The rear panel (fig. 2) is very tidy, and the first thing that catches my eye is the choice of layout, designed according to a "clean" and professional working criterion, of the separate AES/EBU for the eight channels, parallel to the Adat and analog I/O. Furthermore, we find an I/O for the Word Clock and a 232 serial port. Listening test at home As described above, the LUCID's connection options and highly intelligent routing allow us a wide range and versatility, compared to any device, both in input and output. The first test I'd like to conduct is one that would be performed for a magazine of audiophiles, sensitive and capable of deep analysis and critical thinking, driven by the irrepressible desire to achieve, even at great financial expense, results of great sonic realism where timbre and soundstage dominate. It therefore promises to be a tough test, but one that is certainly highly effective and reliable. Clearly, the relevant section for this review is that of DA conversion.
I insert the LUCID into my personal audio chain, worthy of audiophile, including the REGA PLANET player, in this case using only the transport connected via a Klotz coaxial cable, then exiting with AES/EBU to enter the MUSICAL FIDELTY X-PRE pre and power amplifier, to then arrive, via some excellent liquid-conducting cables from SHIMPY, at the beautiful ones (fig. 3): let's face it, a very respectable audio chain (it should be noted that there will obviously also be a real comparison with the converters of my aforementioned CD player). Just to be picky, the REGA PLANET is a player costing around 3.000 euros. Listening to the various productions of different genres and nationalities, I immediately felt a great push from the LUCID, so much so that I had to lower the volume of my PRE by at least half from the usual position (first positive aspect: considerable headroom) and believe me I don't remember another converter with this dynamic range. Going to consult the specifications we are around 140dB. Incredibly, the acoustic stage becomes wider and more defined with any song, so much so that I'm more aware of the particular ghost sounds and harmonics of the arrangements (second aspect: analytical and revealing). Furthermore, the low range, particularly the plucked double bass and the kick drum, gain more attack but without dynamic flakiness, meaning it doesn't come apart but rather clearly lets the amount of compression used in the song be felt. The mids are present and defined, also endowed with depth without any flattening, and believe me when I say that the music "is there to be heard." The highs, on the other hand, are returned extremely quickly and present themselves in the acoustic stage with great openness and without harshness (third aspect: remarkable speed of response to even the most critical transients). Noise is non-existent and we could only measure it (fourth aspect: silent). In conclusion, we can say that the LUCID 88192 adds a real touch of class. The exquisite blend of velvety analyticity, superb transparency, complete and never baroque tonal balance, and excellent dynamic contrast is evident. All these exquisite qualities, rare in the production world, have the effect of making the sound system disappear in the space of a few minutes, so much so that the editor forgets the subject of his article and ends up talking about that album.
Studio listening test:
Monday, January 21, 9:30 PM: Call home. “Hi Antonio, I'm Rino Morra. Can you lend me the converter? We've commissioned a major job for a third party. Your friend Luigi Circiello is also working on this project as the sound engineer.” A: “No problem. Come by my house tomorrow to pick everything up. I'll take the opportunity to compare my impressions with the studio staff.” The sound engineer on duty, needing to mix 16 audio tracks directly on the mixing desk, the old-fashioned way, needed some serious mixing expertise, considering it was a rock quartet. There's nothing better than the filters on an English Soundcraft 3200 analog console (fig. 4).
The sound card in the studio is a Motu 896 HD with 8 analog outputs and 8 ADAT outputs plus 1 AES/EBU output. For this type of work, a fairly simple yet effective audio path was chosen: the 8 analog outputs of the 88192 were connected to the mixer, while the 8 digital ADAT outputs of the 896 HD were connected to the Lucid, converting them into 8 analog outputs, which, in turn, were connected to the console. Once the entire setup was wired, the machine gave its best when it received its clock from my Big Ben (fig. 5), which also controls the clock of all the connected digital machines. Even in this case, you immediately get the impression of a professional product, one that doesn't intoxicate you at first sight but that rewards you day after day, use after use, delivering mixes that are never muddy, as the converters sound sufficiently neutral and precise with a good dose of openness and respectful of the input source. The bass is always solid, never blurry, the mids are detailed and rounded, and the highs are clear, three-dimensional, and never harsh. Compared to the Apogee converters in the studio (Rosetta 200), however, they lack that "analogness" in some musical contexts (rock, pop, blues), as the latter deliver a warmer, more analog sound, almost as if it were coming from a tape without impurities. But this "limitation" can in many cases be an advantage, especially in those musical contexts where a "transparent" sound of unquestionable quality and precision is unquestionably required. In this specific case, even though the product needed to maintain a very vintage and analog flavor and sound texture, it was ultimately decided to output everything to two channels of the 88192, as both the mixer and the outboard equipment in the room had plenty of character, and consequently, it was decided not to add any further coloration to the signal.
Conclusions:
I realized through in-depth listening, how this illustrious "unknown" provides an audio result that goes far beyond its brand which in Italy is still, unfortunately, "anonymous". Hear! Hear! The production is by SYMETRIX, remember the old and glorious 528 (Fig.6) that literally anticipated the culture of the professional channel-strip? Dear gentlemen, the "world is now digital" ... unfortunately! The converters have the heavy duty of transferring the true analog into digital data, then if all this is done with a machine like our LUCID, the results will be satisfactory to say the least.
Let's face it, there are 24bit and 24bit and those provided by the LUCID are not bad. I recommend the 88192 to all those professionals and even semi-pros who have not been satisfied with their converter, be it integrated into the DAW or separate. To make the most of the remarkable characteristics of this object it is not advisable to integrate it with inadequate or poor quality preamps or hardware. Expressing a few more measure comments, we say that the frequency response is very linear for both emphasized and non-emphasized signals; crosstalk remains at very high levels over the entire range; the input and output impedance makes this converter compatible with any equipment even with the less noble ones, however it is better to interface it with those “worthy” beyond the tastes; distortions are very low indeed. Dynamic range is certainly the highlight of the LUCID converter; the signal / noise ratio has excellent values, confirming the silence of the circuit. Overall, therefore, the performances are truly remarkable, also reminding you that the LUCID offers them on eight channels. A technologically advanced object, but obviously reliable and convincing on a musical level, like a well-tested vehicle from which we could expect nothing but the best. It's not often that a music machine gets so blatantly at the center of attention. Not happy, I wanted to involve other professionals and collaborators (Fig.7) to find positive or negative confirmations. Some of these testimonies have found in LUCID a great neutrality and precision, others of them because of this too much neutrality consider it not very musically "warm". Personally I think the LUCID is a rather sensitive converter to the type of audio chain and I don't think at all that it is up to the converter to offer character. If you look for it, the microphone first of all, the preamplifier, the amplifier or the speakers can easily provide for this. I think the converter is comparable to a camera lens that just needs to capture as much definition as possible. Then, if for other reasons, you want to customize it or deliberately "dirty", we can choose to print the photo on particular types of paper or with particular colors. The final judgment remains very positive for the sound qualities, for the sobriety of the design, for the simplicity of the management software, for the overall professionalism of the project. The management software is simple but complete (I never had to open the manual to check its functionality). For my expectations I would have preferred a direct connection to the DAW, perhaps with a PCI card (express for me) and a firewire with the software management of the routine, but it seems that this gap will soon be filled. I conclude by saying that with this digital electronics the password is absolute transparency, very high resolution even at minimum signal levels and a perfect timbre balance, capable of revealing every detail of the musical message without giving the impression of "forcing" execution. The defect? I can tell you two completely questionable as they are only opinions belonging to the sphere of personal taste: if you are looking for any sort of forced characterization, the LUCID is not the converter for you, as it could leave disappointed those who, while using it, expect sensations " strong "or particular colors. As they say in audiophile jargon, it gave the impression of "not playing", in the sense of not adding anything extra to the musical program. This statement to some may resemble a hidden defect, while for others it is an added value. I, as already stated, belong to the latter. In these cases, when a machine presents measuring-proof performance results, therefore made up of excellent components put together by a serious project, the choice becomes a matter of taste. This time I really conclude and I do it with an outlet: is it possible that digital equipment, however well conceived, must always cost so much, leaving us after a very short period of time to compare them paradoxically from all points of view (economic and performing) with the new models of the same device that manage to offer double the performance at half price? This outburst could represent another defect but clearly it is not aimed exclusively at LUCID, but at the digital world in general. Have you ever opened digital equipment? In the end we find ourselves asking: what did I buy? There is nothing here ... did they "pack" me ...? And to think that friend sold that microphone from the "60s" at an amazing price. Yeah! The harsh reality is just that. I just have to appreciate the fact that the LUCID, for the same price, offers the same professional quality as that other converter of only two channels. This might be a good reason to go and try it on at your local shop.
Look at the internal architecture:
The use of external converters opens the panorama to a whole series of problems such as the synchronism between the various digital parts (master clock) and the fact that today technological progress is so fast that today's reference technology, already tomorrow (" tomorrow "real and not metaphorical) is present in prosumer if not consumer products. Already today in quality sound cards we find converters and components of absolute reference. In a home and / or project studio it is advisable to invest your money in a choice of this type or, having taken a good sound card (which, if we exclude the microphone preamps or other utilities, is an audio converter with direct interface for PC), reserve the rest of the budget for other equipment that can make a greater difference for the same investment? Lucid from the Latin lux “light”: it is precisely in this section that we also highlight the interior of our device that we have tested, analyzing, but without boring you, some main components that determine impeccable sound quality. Let's start with the front panel, well cared for and sober with a well-made and clear central display. Opening it (Fig.8) known a very high engineering (similar to that observed in the construction of computers), on the other hand, being converters it could not be different.
At first glance, the components used are absolute reference standards such as Cirrus Logic, Analog Device, Texas Instruments, which, combined with excellent circuitry and an impeccable design, are certainly responsible for the final result. Going into more detail and analyzing the audio path more accurately, the integrated circuits immediately catch our eye. Cirrus mod. CS 5381 (Fig.9), which perform the task of analog / digital converters and anti-alias filter, at 24 bits per channel, with a sampling exceeding 200Khz per channel. Furthermore, the ADC is made up of a differentiated architecture model with an excellent signal-to-noise ratio; the chip is then added Pga 2311u by Texax Instruments that adjusts the input signal levels. Finally there are passive components (resistors, capacitors with very low tolerances). The “Analog Device” manufacturer is a well-known American company specializing in very high quality chips; in our Lucid we find theADSP BF 532 (Fig.10) whose task is to control and manage signals with integrated software: it could be defined as a small computer inside an audio system. This single-chip processor is specific for multimedia applications and digital communications and has 16-bit multipliers, two 40-bit ALUs, four 8-bit video ALUs, two 40-bit accumulators and a 40-bit shifter. We won't dive too deep into the electronic depths of this, but we can tell you that programming is entrusted to a simplified software environment derived from C++, namely the native Visual DSP++ from Analog Devices, and the programming kit (trial version) can be downloaded from the website. www.analog.com/processors/VisualDSP/testDrive.html
USEFUL INFORMATION:
Producer: ChanderLimited
Model: Gloss 88192
Website: www.lucidaudio.com
Distributor: www.feel.it
Price: 3.280,00 + VAT
Article published in CM2 Magazine.
The type of instrument we are about to deal with is highly decisive for both the initial and final quality of any recording or simple reproduction of audio material. The machine subject of this test, as a class to which it belongs, should only be used to make it “coexist” in a state of the art audio chain. Lucid is by no means one of those brands that often travel around here, but in the USA it is well known and also used by leading experts. You will discover it too through these tests and I hope that this converter can be part of that group of super noble and well-known names in the professional sector where, with some exceptions, some of these machines are not worth the money they cost.
How it looks
The front panel (fig. 1) is very spartan and functional, with a single display showing all the operations we are performing on the machine and a large rotary knob that manages the converter routing and the classic power switch. The rear panel (fig. 2) is very tidy, and the first thing that catches my eye is the choice of layout, designed according to a "clean" and professional working criterion, of the separate AES/EBU for the eight channels, parallel to the Adat and analog I/O. Furthermore, we find an I/O for the Word Clock and a 232 serial port. Listening test at home As described above, the LUCID's connection options and highly intelligent routing allow us a wide range and versatility, compared to any device, both in input and output. The first test I'd like to conduct is one that would be performed for a magazine of audiophiles, sensitive and capable of deep analysis and critical thinking, driven by the irrepressible desire to achieve, even at great financial expense, results of great sonic realism where timbre and soundstage dominate. It therefore promises to be a tough test, but one that is certainly highly effective and reliable. Clearly, the relevant section for this review is that of DA conversion.
I insert the LUCID into my personal audio chain, worthy of audiophile, including the REGA PLANET player, in this case using only the transport connected via a Klotz coaxial cable, then exiting with AES/EBU to enter the MUSICAL FIDELTY X-PRE pre and power amplifier, to then arrive, via some excellent liquid-conducting cables from SHIMPY, at the beautiful ones (fig. 3): let's face it, a very respectable audio chain (it should be noted that there will obviously also be a real comparison with the converters of my aforementioned CD player). Just to be picky, the REGA PLANET is a player costing around 3.000 euros. Listening to the various productions of different genres and nationalities, I immediately felt a great push from the LUCID, so much so that I had to lower the volume of my PRE by at least half from the usual position (first positive aspect: considerable headroom) and believe me I don't remember another converter with this dynamic range. Going to consult the specifications we are around 140dB. Incredibly, the acoustic stage becomes wider and more defined with any song, so much so that I'm more aware of the particular ghost sounds and harmonics of the arrangements (second aspect: analytical and revealing). Furthermore, the low range, particularly the plucked double bass and the kick drum, gain more attack but without dynamic flakiness, meaning it doesn't come apart but rather clearly lets the amount of compression used in the song be felt. The mids are present and defined, also endowed with depth without any flattening, and believe me when I say that the music "is there to be heard." The highs, on the other hand, are returned extremely quickly and present themselves in the acoustic stage with great openness and without harshness (third aspect: remarkable speed of response to even the most critical transients). Noise is non-existent and we could only measure it (fourth aspect: silent). In conclusion, we can say that the LUCID 88192 adds a real touch of class. The exquisite blend of velvety analyticity, superb transparency, complete and never baroque tonal balance, and excellent dynamic contrast is evident. All these exquisite qualities, rare in the production world, have the effect of making the sound system disappear in the space of a few minutes, so much so that the editor forgets the subject of his article and ends up talking about that album.
Listening test in the studio
Monday, January 21, 9:30 PM: Call home. “Hi Antonio, I'm Rino Morra. Can you lend me the converter? We've commissioned a major job for a third party. Your friend Luigi Circiello is also working on this project as the sound engineer.” A: “No problem. Come by my house tomorrow to pick everything up. I'll take the opportunity to compare my impressions with the studio staff.” The sound engineer on duty, needing to mix 16 audio tracks directly on the mixing desk, the old-fashioned way, needed some serious mixing expertise, considering it was a rock quartet. There's nothing better than the filters on an English Soundcraft 3200 analog console (fig. 4).
The sound card in the studio is a Motu 896 HD with 8 analog outputs and 8 ADAT outputs plus 1 AES/EBU output. For this type of work, a fairly simple yet effective audio path was chosen: the 8 analog outputs of the 88192 were connected to the mixer, while the 8 digital ADAT outputs of the 896 HD were connected to the Lucid, converting them into 8 analog outputs, which, in turn, were connected to the console. Once the entire setup was wired, the machine gave its best when it received its clock from my Big Ben (fig. 5), which also controls the clock of all the connected digital machines. Even in this case, you immediately get the impression of a professional product, one that doesn't intoxicate you at first sight but that rewards you day after day, use after use, delivering mixes that are never muddy, as the converters sound sufficiently neutral and precise with a good dose of openness and respectful of the input source. The bass is always solid, never blurry, the mids are detailed and rounded, and the highs are clear, three-dimensional, and never harsh. Compared to the Apogee converters in the studio (Rosetta 200), however, they lack that "analogness" in some musical contexts (rock, pop, blues), as the latter deliver a warmer, more analog sound, almost as if it were coming from a tape without impurities. But this "limitation" can in many cases be an advantage, especially in those musical contexts where a "transparent" sound of unquestionable quality and precision is unquestionably required. In this specific case, even though the product needed to maintain a very vintage and analog flavor and sound texture, it was ultimately decided to output everything to two channels of the 88192, as both the mixer and the outboard equipment in the room had plenty of character, and consequently, it was decided not to add any further coloration to the signal.
Conclusions
I realized through in-depth listening, how this illustrious "unknown" provides an audio result that goes far beyond its brand which in Italy is still, unfortunately, "anonymous". Hear! Hear! The production is by SYMETRIX, remember the old and glorious 528 (Fig.6) that literally anticipated the culture of the professional channel-strip? Dear gentlemen, the "world is now digital" ... unfortunately! The converters have the heavy duty of transferring the true analog into digital data, then if all this is done with a machine like our LUCID, the results will be satisfactory to say the least.
Let's face it, there are 24bit and 24bit and those provided by the LUCID are not bad. I recommend the 88192 to all those professionals and even semi-pros who have not been satisfied with their converter, be it integrated into the DAW or separate. To make the most of the remarkable characteristics of this object it is not advisable to integrate it with inadequate or poor quality preamps or hardware. Expressing a few more measure comments, we say that the frequency response is very linear for both emphasized and non-emphasized signals; crosstalk remains at very high levels over the entire range; the input and output impedance makes this converter compatible with any equipment even with the less noble ones, however it is better to interface it with those “worthy” beyond the tastes; distortions are very low indeed. Dynamic range is certainly the highlight of the LUCID converter; the signal / noise ratio has excellent values, confirming the silence of the circuit. Overall, therefore, the performances are truly remarkable, also reminding you that the LUCID offers them on eight channels. A technologically advanced object, but obviously reliable and convincing on a musical level, like a well-tested vehicle from which we could expect nothing but the best. It's not often that a music machine gets so blatantly at the center of attention. Not happy, I wanted to involve other professionals and collaborators (Fig.7) to find positive or negative confirmations. Some of these testimonies have found in LUCID a great neutrality and precision, others of them because of this too much neutrality consider it not very musically "warm". Personally I think the LUCID is a rather sensitive converter to the type of audio chain and I don't think at all that it is up to the converter to offer character. If you look for it, the microphone first of all, the preamplifier, the amplifier or the speakers can easily provide for this. I think the converter is comparable to a camera lens that just needs to capture as much definition as possible. Then, if for other reasons, you want to customize it or deliberately "dirty", we can choose to print the photo on particular types of paper or with particular colors. The final judgment remains very positive for the sound qualities, for the sobriety of the design, for the simplicity of the management software, for the overall professionalism of the project. The management software is simple but complete (I never had to open the manual to check its functionality). For my expectations I would have preferred a direct connection to the DAW, perhaps with a PCI card (express for me) and a firewire with the software management of the routine, but it seems that this gap will soon be filled. I conclude by saying that with this digital electronics the password is absolute transparency, very high resolution even at minimum signal levels and a perfect timbre balance, capable of revealing every detail of the musical message without giving the impression of "forcing" execution. The defect? I can tell you two completely questionable as they are only opinions belonging to the sphere of personal taste: if you are looking for any sort of forced characterization, the LUCID is not the converter for you, as it could leave disappointed those who, while using it, expect sensations " strong "or particular colors. As they say in audiophile jargon, it gave the impression of "not playing", in the sense of not adding anything extra to the musical program. This statement to some may resemble a hidden defect, while for others it is an added value. I, as already stated, belong to the latter. In these cases, when a machine presents measuring-proof performance results, therefore made up of excellent components put together by a serious project, the choice becomes a matter of taste. This time I really conclude and I do it with an outlet: is it possible that digital equipment, however well conceived, must always cost so much, leaving us after a very short period of time to compare them paradoxically from all points of view (economic and performing) with the new models of the same device that manage to offer double the performance at half price? This outburst could represent another defect but clearly it is not aimed exclusively at LUCID, but at the digital world in general. Have you ever opened digital equipment? In the end we find ourselves asking: what did I buy? There is nothing here ... did they "pack" me ...? And to think that friend sold that microphone from the "60s" at an amazing price. Yeah! The harsh reality is just that. I just have to appreciate the fact that the LUCID, for the same price, offers the same professional quality as that other converter of only two channels. This might be a good reason to go and try it on at your local shop.
Look at the internal architecture
The use of external converters opens the panorama to a whole series of problems such as the synchronism between the various digital parts (master clock) and the fact that today technological progress is so fast that today's reference technology, already tomorrow (" tomorrow "real and not metaphorical) is present in prosumer if not consumer products. Already today in quality sound cards we find converters and components of absolute reference. In a home and / or project studio it is advisable to invest your money in a choice of this type or, having taken a good sound card (which, if we exclude the microphone preamps or other utilities, is an audio converter with direct interface for PC), reserve the rest of the budget for other equipment that can make a greater difference for the same investment? Lucid from the Latin lux “light”: it is precisely in this section that we also highlight the interior of our device that we have tested, analyzing, but without boring you, some main components that determine impeccable sound quality. Let's start with the front panel, well cared for and sober with a well-made and clear central display. Opening it (Fig.8) known a very high engineering (similar to that observed in the construction of computers), on the other hand, being converters it could not be different.
At first glance, the components used are absolute reference standards such as Cirrus Logic, Analog Device, Texas Instruments, which, combined with excellent circuitry and an impeccable design, are certainly responsible for the final result. Going into more detail and analyzing the audio path more accurately, the integrated circuits immediately catch our eye. Cirrus mod. CS 5381 (Fig.9), which perform the task of analog / digital converters and anti-alias filter, at 24 bits per channel, with a sampling exceeding 200Khz per channel. Furthermore, the ADC is made up of a differentiated architecture model with an excellent signal-to-noise ratio; the chip is then added Pga 2311u by Texax Instruments that adjusts the input signal levels. Finally there are passive components (resistors, capacitors with very low tolerances). The “Analog Device” manufacturer is a well-known American company specializing in very high quality chips; in our Lucid we find theADSP BF 532 (Fig.10) whose task is to control and manage signals with integrated software: it could be defined as a small computer inside an audio system. This single-chip processor is specific for multimedia applications and digital communications and has 16-bit multipliers, two 40-bit ALUs, four 8-bit video ALUs, two 40-bit accumulators and a 40-bit shifter. We won't dive too deep into the electronic depths of this, but we can tell you that programming is entrusted to a simplified software environment derived from C++, namely the native Visual DSP++ from Analog Devices, and the programming kit (trial version) can be downloaded from the website. www.analog.com/processors/VisualDSP/testDrive.html
USEFUL INFORMATION:
Producer: ChanderLimited
Model: Gloss 88192
Website: www.lucidaudio.com
Distributor: www.feel.it
Price: 3.280,00 + VAT
Article published in CM2 Magazine.
