FORGET ABOUT LATENCY - Stream 64-channels of audio via HDX & USB 3.0
Orion32 HD is the newest addition to the Orion family. Compatible with any DAW on the market via HDX port or USB 3.0, this new Pro Tools HD and Native interface offers everything Antelope Audio stands for. Zero latency Monitoring, I/O streaming of 64-channel 192 kHz audio, Antelope’s industry-leading clocking, and pristine AD/DA conversion. Orion32 HD’s analog I/O is handled by 8 DB25 connectors, accompanied by MADI, ADAT and S/PDIF connectivity.
Orion32 HD features a fine selection of vintage FX powered by Antelope Audio’s innovative Field Programmable Gate Array (FPGA) technology bringing modeling of legendary vintage gear to a whole new level.
- 64 CHANNELS I/O
Simultaneous streaming of 24-bit, 192 kHz audio via HDX or USB 3.0 and additional connectivity on MADI, ADAT, S/PDIF, 8x DB25
- POWERFUL FPGA
Custom FPGA for authentic modeling of vintage gear, maintaining multiple mixers with real-time effects processing and measuring only 2 samples of inaudible latency
- SUPREME CLOCKING
Powered by Antelope’s 64-BIT Clocking Technology with 2 Word Clock or Loopsync Outs, Word Clock or LoopSync & Antelope 10M/10MX Atomic Clock Inputs
- MASTERING GRADE MONITOR OUTS
High Monitoring DA included using chips from our popular Pure2 Mastering Converter
- SOFTWARE CONTROL
Routing, mixing, real-time effects processing via OS X & Windows compatible app
- QUIET OPERATION
Housed in an efficient “green” design with no fans inside, means no need for expensive machine rooms or iso racks
FAST AND FURIOUS - Smooth mixing and mastering-grade monitoring
Like its predecessors, Orion32 HD is a versatile audio interface, which works like a charm with any DAW on the market. It enables you not only to stream an astounding 64 channels of audio when tracking, but also allows for multiple monitor mixes. When monitoring, the sound is pleasing, combining transparent detail in a very natural way, like all things Antelope. Independent software mixers, integrated hardware-based FPGA vintage effects, it’s all there, with more connectivity options than ever.
CLOCKING LIKE WE LOVE IT - Perfect sound through flawless clocking
The unbeatable clocking accuracy of Orion32 HD is provided by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) jitter management technology. Antelope’s clocking is known the world over with a 20 year reputation for excellence in both stability and sonic improvement. Transients will shine like never before, you’ll achieve a stereo image with incomparable depth and detail.
And that sparse and crystal clear high-end… Yes, we’re talking sonic perfection just like in our game-changing OCX HD and Trinity master clocks.
FPGA POWERED - Orion32 HD includes a fine selection of FREE hardware-based vintage AFX
The proprietary FPGA is the heart and soul of all Antelope Audio interfaces and is included inside Orion 32 HD. Allowing you to use Antelope’s integrated and ever-growing library of hardware-based vintage EQs, compressors and of course AuraVerb. The exquisite collections of Vintage EQ’s include authentically models of Lang PEQ-1, BAE 1073, 1084, 1023, UK-69 and many other classic British and German vintage units. Vintage Compressors begin with the life-like model of the FET76 and many more are soon to be available, FREE to all new and registered users of Antelope’s growing line of world class interfaces.
INTUITIVE SOFTWARE CONTROL - Your wildest routing dreams come true with the Orion 32 HD desktop app
Orion32 HD is fully controllable via its intuitive OS X and Windows compatible desktop app. Its color-coded routing matrix now features an alternative view making routing a piece of cake. The interface can be also accessed from multiple computers on the same network. With freely movable and resizable panels you can maximize the most out of your computer monitor space, perfect when working on huge projects, scoring to picture and on multiple screen set ups.
Hardware-based Audio Effects
Massive hardware modeling capabilities
Already leaders in the field of digital audio clocking Antelope Audio is now on a mission to revolutionize the world of digital audio interfaces. Our custom Field Programmable Gate Array (FPGA) not only guarantees the lowest sound latency on the market when creating and streaming multiple mixes, but provides our devices with massive hardware modeling capabilities.
Forget about expensive DSP effects
They often sound flat and soulless and can be quite a pain to your computer.
Our FPGA effects bring audio realism to a new level. They sound, behave and feel just like real hardware gear, because they ARE real hardware gear. Orion Studio, Orion 32+, Zen Tour and Goliath – all our latest audio interfaces – feature this new breed of powerful hardware-based audio effects. These include vintage and contemporary guitar amp & cab simulations developed in collaboration with Overloud, plus Antelope’s very own enhanced versions of legendary studio gear.
Based on its beloved hardware brethren, this EQ unit became popularized in the 60s and 70s. It features four disparate bands with up to 12 dB of cut or boost. High and low bands offer the option to switch between a bell curve or shelving behavior. The unit’s musicality owes in part to the proportional Q behavior of each band, ranging between a gently sloping Q at more subtle levels of boosting or cutting and a more aggressive slope at higher levels. Additionally, adjacent EQ bands offer some overlapping frequency selections for creating complex curves and dialing in the perfect sound.
As with all of Antelope Audio’s FPGA models, the tonal characteristics of the vintage circuitry are carefully modeled to imbue its rich analog character on your audio.
This EQ channel strip is a simple but a powerful tool from a world-renowned mixing console dating back from the 70s and still highly sought after for its deep analog sound. The VEQ-STU 089 is basically a Pultec style semi-parametric EQ. With 2 variable filters and a presence knob with its own frequency dial. These one offers you a quite the choice no matter if you’re going for a quick and rawer equalizing or into broader tone shaping.
VEQ-STU 089 and its minimalist but effective set of controls that will give your sound authentic and warm analog treatment. This one is especially powerful when processing drum sound.
The VEQ-STU 169 is a part of the second generation analog Western European mixing desks. Produced in the late 70s and early 80s these were top devices to record music with for their transparent and still gently colored analog sound. This simple yet powerful 3 band inductor-based EQ is carrying a signature musicality coming from its high-end smoothness and headroom, plus clean and concrete lows. Designed for broad tone shaping, the 169 has a low Q factor preserving the low end clean.
To this day VEQ-STU 169 is still used in studios ranging from vintage analog to hi-end digital studios which still take advantage of its unique and gentle coloring. With a low-pass filter and a sweepable bell mode mid band you can surely achieve the sound many other EQs can only dream of. The low frequency band is set to shelve at 60 Hz, the mids are sweepable between 150 Hz and 7 khz and the high frequency shelving comes at 10 kHz.
This channel strip is coming straight from one of the top sounding analog mixing desks. What makes it special? VEQ-STU 900 is very flexible 4-band semi-parametric EQ with cut/boost controls and variable frequency. Its HF and LF bands support bell and shelf modes and its LMF and HMF bands two options for the Q.
Originating from the best mixing desk in a line of analog classics, the VEQ-STU 900 allows you to shape the sound in pretty extreme ways without deforming the sound. With thick lows and gentle mids you might dig it more even than a Pultec or an SSL.
VEQ HA32C was inspired by one of the richest and characteristic sounding four-band channel EQ modules. Incredibly versatile it can treat everything from vocals to bass and electric guitars to drums. VEQ HA32C is smoothly treating your high-end while keeping the mids vivid and the lows thick and concrete.
VEQ HA32C features four parametric bands. Each of them comes with a Gain and sweepable Frequency control knobs. The Low and High bands can be switched to shelving modes and the EQ features a High and Low Pass filters that can be switched on or off.
Ever felt like the BAE 1073 was sounding ace but didn’t offer you enough control? Well, BAE 1023 is here to save the day. BAE 1023 offers five more frequencies in the mids and four in the high range. This however is not the sole change in this. The EQ offers even more tone shaping options by for example allowing you to use the mid-bell curve directly against the shelves in the lows or the highs where they overlap. This mighty trick results in a very organic and natural all analog sound. High frequencies can be boost/cut on shelving mode, for the mids you get peaking mode.
Below’s a list with the expanded frequency controls of the 1023. The high pass filter works on 18dB per octave slope and is switchable between 45Hz, 70Hz, 160Hz and 360Hz.
Lows: +/-16dB at 35Hz, 60Hz, 110Hz & 220Hz.
Mids: +/-12dB or +/-18dB at 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6k, 3.2k, 4.8k, 7.2k, 8.2k and 10kHz.
Highs: +/-16dB at 10kHz, 12kHz, 16kHz, 20kHz and 24kHz.
BAE 1084 is a synonym for fat large sound with massive lows and smooth high end. Due to its original pristine analog design, which we’ve recreated here it offers extended control over the sound spectre. Tone shaping is here brought to a whole new level and what you’ve so far considered as tiny tweeks will now result in unprecedented all analog sonic detail. Even if you try boosting at 220Hz won’t result in any mud in your sound. An authentic FPGA model of vintage console channel strip, BAE 1084 is one of the most precise and versatile EQs you can ever get your hands onto. It also offers a Hi-Q button allowing a narrowing mid band.
It features a four frequencies high pass filter – 45Hz, 70Hz, 160Hz, 360Hz and a five frequencies low-pass filter – 6kHz, 8kHz, 10kHz, 14kHz and 18kHz. The mid band features six frequencies – 350Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz and 7.2kHz. The high band works in shelving mode and three frequencies 10kHz, 12kHz and 16kHz.
The NEU-W492 is based on the inimitable circuitry design of the original, carrying its signature German sound. As a favorite mastering tool of generations of record producers and sound engineers, the unit features a 4-band EQ with bypass available for each band or the entire unit. Versatile and simple to use, the NEU-W492 is particularly powerful in the midrange, delivering a warm analog sound character.
The NEU-W495 meantime, is based on the original mixer strip designed for mastering consoles. From a sonic perspective, the NEU-W495 is able to fatten bass much like an analog EQ, and in ways that are not possible with typical software plug-ins. The NEU-W495 is also highly effective in smoothing out mid and high frequencies. Everybody needs more of that German analog precision in their sound.
Having imparted its sound signature on generations of artists and hit recordings for more than 50 years, the VEQ-4K SERIES are based on a rock-solid analog design — now coming to life in Antelope’s FPGA FX modules. Antelope’s VEQ-4K is complete with four different colored hardware-original revisions, each delivering its own unique sound shaping characteristics.
Likely the most popular version of the EQ module, this unit was designed following the recommendations of many of the world’s top engineers. The ‘original black’ features a louder EQ with +-18dB cut/boost and a steeper High Pass cut off slope (18db).
The first model in this legendary line of EQ modules, it remains a classic and still in use by many engineers. It has 4 bands with a sweepable mid Q. The HF and LF can be switched to Bell/Shelf modes altering with the degree of boost/cut by +/- 15db.
Originally appearing in the late 80s and with proportional gain settings, the VEQ-4K features shelving HF & LF EQs with a signature combo of dip and bump right before the shelf boost and cut. The Pink module has a wider frequency range with the boost/cut and gain range above +/- 20dB.
A variation on the VEQ-4k Brown, which’s still a huge thing in Japan. Very close as sound to a Pultec EQ and with controls simulating valve EQ curves. This one is not just one more module strip revision, but a hardware rarity with a sound of its own.
VEQ – 1A
You’re surely into studio legends if you’re reading this so let’s take you back 60 years ago when a tube legend was born to become a part of every pro studio in the world. VEQ – 1A is not only breathing a new life into a classic, but sounds as thick as the real piece and it does hide quite a few tricks. For example simultaneous cut and boost of the same frequency, which gives the sound a unique quality you can’t really get with another EQ. Massive bass, gentle highs and richness – these knobs surely do some analog magic.
But what’s proper low and high end with no guts in the mids? VMEQ-5 is this range’s best friend. Two peak bands and a dip one are all you need to give your vocals, synth, guitar leads or snare drum the analog punch they’ve always needed. This little beast can also clean up a murky midrange like a boss.
Your hands are surely already itching to try all these out, but not before we tell you about the parametric VEQ-55A. Having issues getting your bass guitar sound edgy enough? Need some meat in your drums or maybe some body in the guitars? Problem solved, VEQ-55 will emphasize all tiny details your mix has been missing. All that, which has been causing troubles will be gently cut.
Born in the 70s this channel module has been surely used on all your favorite records. BAE 1073 can handle it all – from classical music to TV pop, badass hip-hop and rock. Inspired by the hardware original we made sure this tiny beast can give your sound that very specific analog punch, which top producers have been cashing in on for decades now.
Pultec’s simple and effective filter features two knobs: one each for passive low-cut and high-cut filters at carefully selected frequency intervals. With 10 frequency selections available per band, it is the perfect tool for creating space in your mix by eliminating unneeded frequencies at the extremes of the audio spectrum — while ensuring a musical analog tone.
Modeled on a classic British console EQ used in recordings by well-known artists of the 60s and 70s ranging from The Beatles to Led Zeppelin, the Helios 69 adds astonishing analog detail to your audio it allows Antelope Audio users to achieve depth and texture formerly the sole territory of standalone hardware. The bass band is a stepped 50 Hz shelf filter or frequency selectable peak EQ, the treble band is a fixed 10 kHz shelf EQ, and the mid section sports a frequency-selectable peak or notch EQ with 8 frequencies available. The control panel is rounded out with a level knob, EQ bypass, and phase reverse button. This EQ is notable for its ability to preserve transparency while adding space and presence, and Antelope Audio’s model of this highly coveted circuit delivers unprecedented authenticity.
The NEU-PEV EQ is modeled on a rare German passive equalizer designed in the 60s. Its simple interface belies the complex tonal possibilities achievable with its four main knobs. A low shelving filter is fixed at 60Hz and can apply a boost or cut. The “Presence” section offers up to 8 dB of boost for one of 7 selectable frequencies between 700 Hz and 5.6 kHz, while a 10kHz high shelf allows boost or cut at the top end of the frequency spectrum. An on-off switch and output gain control provide users with even more utility. Notable for its warmth and spacious midrange, the NEU-PEV makes some of the most compelling sounds of both yesterday and today achievable without a massive rack of aging vintage gear.
The PEQ2 is a solid-state parametric EQ model based on a vintage EQ from the 1960s. Featuring controls similar to the VEQ-1A tube EQ (already available in Vintage Pack 2.0), the PEQ2 really stands apart from the pack thanks to its frequency control, allowing users to set different and separate LF boost and LF cut frequencies. The PEQ2 provides plenty of width in the midrange while retaining tightness on the high end and low end and its high end bands excel at giving tracks that extra shine, making it an all-star on vocals and drum overheads.
Antelope Audio’s integrated EQ offers 5 fully parametric bands, two of those can work in filter or shelving mode the three in the middle can cut or boost selected frequency ranges.
Our users have been using this simply designed yet perfectly sounding plug-in for both tracking in mixing, because it simply provides all that you might need in an EQ.
Modeled after another late 1950s legend, ALT-436C is an iconic single channel, variable-mu tube compressor with fixed attack controls. Being the third revision of a compressors series, which were heavily modded by sound engineers, ALT-436C features threshold and release time controls. Loved by producers in the Beatles era, this initially inexpensive and now legendary unit is extremely helpful for bass guitars (and not only), vocals, string instruments and even synths. Back in the day pop music wasn’t so cold and sterile, that unit is one of the reasons why. Explore it with Antelope Audio.
Simple design and controls, epic looks, massive sound. Stay-Levin is a unit that shaped the sound of the US 1960s classics. Without a doubt carrying a character and color of its own, it recreates a valve compressor legend that will add a desired analog edge to your contemporary production. Its simple front panel set of controls, featuring only two knobs and two switches, can result in a surprisingly varying compression styles, which can enhance vocals, acoustic guitars and synth leads. Treat your bass and drums with it and they’ll grow bigger and meaner. Vintage compression at its finest, recreated in the FPGA domain for real-time FX perfection.
combines classic sound, perfect metering and ease of use. Suitable for both “brick wall” and subtle pushing, it has been carefully modeled to preserve the character in both bad-ass hard knee or gentle low ratio compression. This fast and firm VCA style compressor is great for controlling vocals, bass guitar or individual drums. When used with aggressive transient sounds, like kick drums or bass, the VCA160’s fast response can create a classic punch or “thwack” sound, which has become a unique part of its famously punchy pedigree.
The hardware original behind Tube176 owes its sound to a unique variable-mu dual triod tube, which is long out of production. Now this cult studio piece is brought back to life in the FPGA realm as a powerful fast compressor, which can be used from everything from vocals, guitar solos, bass lines, drums, and even a full mix. Able to smooth the sound or completely flatten it when pushed real hard, Tube176 makes drum transients shine and boosts vocals through a busy mix.
is cult compressor module, which will add just the right amount of analog touch and punch needed. Equipped with smart RMS detection, treating your sound with X903 will result in high-end, yet authentic analog compression and limiting. With the X903’s Negative Ratio capabilities, you can create a dynamic inversion, which pulls back the transient peaks for a unique tugging type of special effect, making the X903 a more realistic sounding compressor, capable of mangling dynamics in great ways.
Gyraf Gyratec X
carries the sound of a true tube stereo compressor. Widely used for its speed, and featuring technology used in early limiters this Vari-Mu beast from Gyraf Audio is now more than alive in the FPGA domain. Allowing hard compression of the low end without polluting the sound thanks to smooth high-pass filtering. Perfect for using along with other types of compressors and Antelope’s growing list of Vintage Effects processors. We’re proud to be the first to offer modeling this unit.
Grove Hill Liverpool
is a contemporary fusion of 1960s’ finest American and British compression technologies. This compressor sounds just like you like it – rich, wide and thick. Run acoustic guitars through it and you’ll hear them as clear as possible, yet with more full-bodied sound and soul. A great mid range healer it’ll add a desired smoothness to guitar leads, synths and vocals. When applied to bass you’ll achieve big and warm sound, push harder and you’ll add an edge without affecting clarity.
FET-based compression has been a staple in the studio since its invention in the late 60s. The Antelope FET-A76 captures all of the nuances of a vintage FET compressor, and like its analog progenitor, is useful not only for controlling dynamics and sculpting tone but also for its ability to add punch and presence to anything passing through its circuit.
Mirroring the original hardware’s easy-to-use interface, the FET-A76 features Input and Output gain controls and a selectable 4-way ratio control with hidden “all-buttons” mode for a more aggressive compression character.
The FET-A76 shines in a wide range of applications, from vocals to bass guitar to buss compression, and is a powerful companion to Antelope Audio’s already-available FPGA EQ models, including the recently released BAE Audio 1073.
Antelope FeedForward Compressor
The Antelope FeedForward Compressor is featured in all our interfaces. It comes with all necessary Threshold, Ratio, Attack and Release knobs and allows Knee control. The Detector drop-down menu offers several Peak / RMS sense modes to choose from. It’s a small machine, but it gets the job done just right while sounding quite like a real hardware compressor.
The Guitar Classics
Burnsphere (DE) is a modern amp especially suited for fans of meaty, bottom-end guitar sounds — but with an incomparable punch to make your solos and power chords sound tight and massive. This amp can handle high gain, modern metal sounds with the same precision as ringing and clean guitars. In both blends, you will not be missing presence, power or punch.
With Burnsphere’s Gain, Bass, Middle, Treble, Presence and Master Volume controls, you’ll be able to achieve your own signature, low-end and low-mid sound — whether you are playing ballsy rock ‘n’ roll, noisy jazz, or heavy metal. Two additional switches for Normal/Bright and Bottom make it a piece of cake to craft crispy cleans or heavily distorted blends with Burnsphere’s own ‘black magic’ drive.
Finally, the louder you play, the better this amp will sound! But rest assured, you can still achieve a pristine sound at lower levels. The name of the game with Burnsphere is to experiment and find your own voice, as we made sure this amp can adapt to any guitar-oriented genre and deliver its own style — how you play it is up to you!
Marcus II (US)
With its sensitive lead channel and improved reverb circuit, Marcus II (US) was designed to honor the sound of one of the most expensive and sought after guitar amps of the 80s. Now, your wallet doesn’t have to bleed to access this vintage legend since its authentic sound is perfectly recreated thanks to Antelope’s proprietary and revolutionary FPGA chip.
Marcus II (US) is one of the loudest and most sensitive amps you will ever encounter. This amp promises to capture all the dynamics of your guitar playing, and sparkle like no other. The transistor EQ adds a slightly different touch to the all analog tone of the Marcus II (US) and is quite versatile thanks to a set of simple but effective controls. Looking for a Fender inspired tone? Just cut the mids on the EQ. Want to go for a thicker and not too bassy Marshall-like sound? Try giving the mids a boost.
When it comes to prog rock or metal the Marcus II (US) is your top choice, It can represent the complexity of your playing, as well as the unique detail in your tone. Need a clean rhythm guitar tone or do you want to craft a memorable lead guitar sound with no mud in the low end? The Marcus II (US) is your amp!
Overange 120 (UK)
Designed after an amp that was built to be most effective when played loud as Hell, we made sure that Overange 120 (UK) hit the mark. Characteristically hard to tame, raw and old school, Overange 120 (UK) is choc with overdriven textures you simply won’t hear in other amplifiers. Maybe that’s why this one has been around since the early 70s.
It is easy for you to find your sweet spot with Overange 120 (UK) if you get to know its parameters. On lower volume levels, you won’t be able to attain its signature primal rock sound, but it’s cleaner and quieter sound will be be a pleasant surprise for the warm tones required for jazz, country or blues tunes.
We managed to achieve a unique versatility in an amp, while instilling subtle modern touches and welcome revisions. Yes, it still carries that flagship British tone, but this tone can now fit into a plethora of genres thanks to the advanced controls and functionality of Overange 120 (UK).
With Overange 120 (UK), you can go for a tone with a tight low-end, but also sound perfect when going for a more high-gain, rich and ultra overdriven blend. From early rock to thrash metal, the Overange 120 (UK) has you covered.
Tweed Deluxe is modelled after one of the most unique and sought after amps in the history of modern music. Introduced in the 50s, it’s loved both for retaining a clean tone at high volumes, and for his signature saturated tone when cranked. This is our take on one of the most special and historic amps ever built.
Found in the discographies of Neil Young, Billy Gibbons, Creedence Clearwater Revival and The Eagles, this little amp can turn from crystal and warm to wild and uncaged in the blink of an eye. Either way, it’ll sound like no other amp built in the past 60 years.
Playing on low volume will result in warm clean sound — but the louder you get, the more tasty the tube harmonics become, fattening your tone. Tweed Deluxe fits any genre from old-school blues, jailhouse country to wild rock and contemporary popular music. For an amp with a cab of that size, Tweed Deluxe has a very convincing low end — accompanied by rich mids and precise highs.
The Tweed Deluxe has two main secrets: First are its simple controls, which consist of a Volume knob and the signature Tone knob. Using the two in combination, the possibilities are endless, and the limitations are only bound to your imagination. Another hint for mastering the Tweed Deluxe tone is honing the right choice of speakers. This will allow you to fine tune your blend depending on what your music or mix needs most – fatter lows, sparcer mids or more gold in the high-end.
One thing is certain, Tweed Deluxe just can’t sound bad.
Top30 is the choice for the followers of the so-called “British Invasion Sound”. This amp & cab produces a remarkably pure tone both if you like your guitar sound clean or overdriven. For over 60 years some of the world’s most loved and accomplished artists have been returning to this unique blend.
Top30‘s controls include Volume, Bass, Treble and Top Cut. We’ve added a 2×12” speakers cab for this gem, because that’s exactly what it needs to do its magic.
Darkface is our tribute to the most classic amp of the 60s. If you have a heart for vintage rock, jazz, country or good old blues you’ll surely love this sound. Designed to preserve the natural tone of the guitar, even at high volumes, is what made this sound so popular. That’s what we went for when designing this. Just strum a chord through it and you’ll love it
Modern is what you pick when you want to unleash a crushing wall of guitar sound. Suitable for any metal sub genre, this all tube guitar amp simulation is your best choice when you need super heavy distortion, but also when your leads and solos need some help to shine in the mix. This contemporary classic sounds best through a wall of speakers so, its default cab features 4×12” ones. Those are here to help you feel the sound of your guitar as you’ve never done before.
Take a good look at Plexi 59, because this is the amp that created the true tone of classic rock. Antelope & Overloud poured their heart and soul into recreating the legendary voice of this warm and loud amp. Plexi 59 sounds bright and crunchy, with a lot of headroom – just like the hardware piece we love so much. Antelope’s powerful FPGA allowed us to achieve the signature tone of this late 50s, hand-wired tube legend with large transformers and high-plate voltages.
Pair it with two 12” OB Green speakers and your guitars will have a meaty thick bottom end and super smooth mids. When pushed hard Plexi 59 gets super loud, but never muddy. The amp that inspired our very own Plexi 59 is not just a standard in blues and rock music, but a bridge to the hard rock and heavy metal sound.
Rock 75 brings the true sound of one of the most beloved all-valve 100W amps in rock history. No reverb and no effects: just the pure raw rock tone, which has kept this amp in demand for over 40 years. Rock 75 is like the Plexi 59 on steroids. All the cranking his older brother couldn’t handle, is now possible. Forty years ago this amp gave guitarists not only more heat, but more control over the output level. Now, that legendary amp architecture is authentically recreated thanks to Antelope’s powerful custom FPGA.
We ensured that Rock 75 is as loud as the real hardware inspiration – the tube amp legend that quickly became a standard for all big stadium rock raves. Back it up with 4x 12” Vintage Speakers and your guitars will be roaring like a lion.
The 80s were marked by a worldwide hard rock and heavy metal explosion. For amp manufacturers that meant one thing – more gain. Rock 22.10 is FPGA-modeled after the amp, which handled this new sound the best. It achieved its savage and aggressive sound by having extra clipping diodes and its EQ was placed after the third gain stage. Antelope’s 22.10 features controls for Presence, Bass, Middle and Treble plus Master and Pre-Amp Volume for even more detailed Gain control.
Even though you’ve heard the sound of Rock 22.10 in your favorite heavy metal albums, that amp actually offers a pretty wider choice of sound. Yes, it’s mostly edgy and aggressive, but if you’re on the lookout for achieving more abrasive indie tone, it will surely serve that purpose as well.
AuraVerb - New Reverb Leveraging Unique Algorithms and Proprietary DSP Chip for ‘Smooth and Clear’ Sound
— AuraVerb Includes 24 Custom Presets Designed by Five-Time GRAMMY Award Winner Brian Vibberts —
Antelope Audio introduces AuraVerb, the professional audio company’s first reverb. The software-based reverb leverages Zen Studio’s powerful 64-bit DSP chip and features a unique algorithm designed by Antelope’s team of mathematicians, including company founder Igor Levin. AuraVerb is free for all current and future Zen Studio owners with a simple firmware update and is fully compatible with other upcoming Antelope Audio products.
AuraVerb provides color and richness using a simple new approach via a unique algorithm. The reverb features eight different controls including a ‘color’ parameter to create everything between darkened textures to a brighter, sizzling presence; and a ‘Richness’ parameter that controls the reverb density compared with the source audio, AuraVerb is capable of producing a wide range of authentic sonic landscapes.
Highlights of Antelope Audio’s new AuraVerb include:
- New algorithmic reverb runs in real time on Antelope’s own DSP engine
- 24 custom presets created by Brian Vibberts for various instruments and styles
- ‘Color’ and ‘Richness’ parameters enable users to control different textures and densities
- PreDelay can delay the onset of reverb by up to 150ms
- Long and smooth decays feature no digital artifacts
- Create your own savable presets and share with other AuraVerb users
- Signals can also be routed from DAW software as a Hardware Insert