When it comes to recording, Antelope’s USB chip provides 24 I/O, without sacrificing any channels to go higher in sample rate - a common issue with other interfaces - all the way up to 24-bit/192k. Available in the sense you can mix them using the Zen’s software control panel and onboard DSP. There are a total of 38 possible inputs, and 32 possible outputs, and all are simultaneously available. The idea is the Zen Studio packs in everything you need to record most projects, and the ability to expand when it doesn’t. Namely, capturing ‘out in the field’ - practise room, church hall, club, whatever - and heading home to mix. In summary: the Zen is designed to cater for the kind of recording a lot more people are doing these days. Secondly, the four ADAT expansion ports are on the short end opposite the handle, so you’d have to incorporate some right angle adaptors if you wanted to use them in a rack. Firstly, it gets a little warm, so Antelope has designed ventilation into the top and bottom of the unit, with some elevating rubber feet to let it breathe. The other main arguments for keeping the Zen sans rack ears are related to the device’s high I/O count. Yes, portability is a huge asset, but there are many people who would prefer to squirrel this baby away.īut here it is, and the Zen Studio hasn’t changed from those initial shots one bit, handle and all. As useful and as intriguing as the handle is and was, it’s still a ballsy move on the part of Antelope. A lot of people thought designing an interface that looked like it would fit into a rack means it should actually fit into a rack (sure enough, I’m reliably informed that Antelope is developing a rackmount kit that leaves 1U space above to ensure the Zen Studio stays cool). The single, fire engine-red piece of bent metal really caused quite a stir. When images first surfaced of Antelope Audio’s Zen Studio, the most talked about feature was its handle.
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