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Antelope Audio Goliath HD
64-Channel interface usable with Pro Tools HD or Native DAWs via second-generation Thunderbolt, USB 3.0 or MADI connections
MFR# Goliath HD
Product Description
The Antelope Goliath HD brings Antelope Audio’s innovative 64-channel Goliath interface and arsenal of hardware-based FPGA FX to Pro Tools HD and Native users. Featuring extensive I/O options, 16 Accusonic mic preamps and mastering grade monitor outputs, Goliath HD has everything you need to tackle gargantuan sessions in Pro Tools with Antelope Audio’s unbeatable sonic detail and precision.
Pro Tools Users Rejoice!
Finally, the wait is over! Antelope Audio’s most powerful interface can be used with Pro Tools HD or Native DAWs. For the first time, Antelope Audio’s supreme AD/DA conversion and clocking technology are available to Pro Tools users, including their Acoustically Focused Clocking, BNC Word Clock I/O and 10M Atomic Input.
Thanks to Antelope Audio’s proprietary HDX Delay Compensation, Goliath is the only interface capable of providing perfect integration for digital sources to Pro Tools HD—meaning you can track and mix complex, large-scale projects with zero latency.
Bigger is Better
Goliath HD offers 32 analog inputs and 32 analog outputs with over 124 dB of dynamic range, making it the perfect solution for engineers who require pristine audio quality for large sessions. Equipped with 16 class-A preamps, four dedicated instrument inputs, and two transformer outputs for re-amping, Goliath HD can handle even the most complex sessions. Throw in an integrated talkback mic, two headphone outputs and a pair of analog inserts and there’s nothing Goliath HD can’t accomplish. And those are just the analog connections! Goliath HD also features a versatile collection of digital inputs and outputs including AES, MADI, ADAT and S/PDIF.
FPGA FX
Goliath HD is armed with the full arsenal of Antelope Audio’s proprietary hardware-based FPGA FX, including zero latency emulations of vintage analog EQs, compressor and more. Perfect for tracking or mixing in real time, FPGA FX offers a versatile collection of authentic studio-grade signal processors. Dial in the perfect vintage sound using innovative new Microphone and Mic Preamp emulations. FGPA FX even includes guitar amp and cab simulators, allowing you to track guitar parts with no amp while still retaining the proper feel and tone.
FEATURES:
- 16 Class-A Mic preamps Hi-Z, Mic & Line ins with DMR of 124 dB
- 64 channels I/O Simultaneous streaming of 24-bit, 192 kHz audio via HDX or USB 3.0 and MADI (to Dante Bridge), ADAT, S/PDIF and DB25
- Latest generation of ESS powered audiophile grade conversion, paired with Antelope’s 64-bit Acoustically Focused Clocking technology with BNC Word Clock I/O plus the Antelope Audio 10M Atomic Input
- Proprietary FPGA for authentic modeling of vintage EQs, Compressors, Guitar Amps & Cabs; maintaining multiple mixers and zero latency real-time FX processing
- Goliath HD offers high-end monitor outputs, with dynamic range boosted to 132 dB
- Touchscreen, enhanced front panel, user friendly routing, mixing and real-time effects processing via OS X & Windows compatible panel and mobile apps
Product Specifications
| Condition | New |
|---|---|
| Package Contents | Goliath HD Interface, owner’s manual, warranty card, AEC power cable, and USB cable |
| Width | 19 in |
| Depth | 11 in |
| Height | 3.2 in |
| Chassis | 19-inch Rack-mount |
| Rack Spaces | 2U |
| Channels | 64-Channel |
| Input Connectors | AES/EBU DB25, BNC, Coaxial, Analog DB25, Optical, XLR Combo |
| Output Connectors | AES/EBU DB25, BNC, Analog DB25, Digital Coaxial, MADI, Optical, 1/4-inch TRS |
| Computer Connection | Thunderbolt, USB |
| Number of Preamps | 12 |
| Clock I/O | In, Out |
| Maximum Sampling Rate | 192 kHz |
| Digital Format | ADAT, AES/EBU, MADI, S/PDIF, Thunderbolt |
Product Reviews
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So, I was using an SSL Alpha Madi interface before this purchase and let me tell you...The Goliath strictly as a converter was much more accurate than the SSL!! How could I tell? There was so much more on the bottom end...my Focals sounded like they had a sub with them. It was undeniable!! As for AD conversion...I noticed a much more analog sound compared to the crisper SSL. Also, I got a bigger, “taller” image. A client of mine said she thought there was more presence to components of her song that we had remixed with the Goliath. She loved the bigger bottom end. I’ve used in both native ProTools and in Ultimate with an HDX card. The latter will give you that pro sound you’re after! Anyway, I highly recommend. Don’t be intimidated by the Antelope routing software...once you understand it it is simple. Antelope has great customer support too! Definitely worth the cash!!!
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For the first time in a dozen or more AD/DA shootouts, I'm hearing things in a master that have never been heard before. Currently using Burl, which I love, but this is the first converter in a long time that is making me consider a switch. Still some more demo/listening to do.
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