As my previous converters simply provided a green and red LED for each channel, I felt like using a single, multi-colored LED for each input was actually a stroke of simple genius for the PreSonus design team. Is there a downside? You can literally convert and reconvert into the analog domain at will without sacrificing depth or quality. The first harmonic (62hz) being more important, what with it being audible and all, translated wonderfully. Alternately, the Focusrite Red Line 16 will run you $3495 for half the inputs, and an Apogee Symphony expanded to 32×32 analog capabilities is well beyond the $7,000 range. It’s purpose-driven and a breath of fresh, simple air in a marketplace swamped with all-in-one interfaces slathered in superfluous gadgetry. Rear panel DB25 line-level I/O makes connecting your Quantum 4848 to your existing analog patchbay a breeze. It … Many prefer both. Twenty years ago, the Digidesign (now Avid) MBox was a milestone in the home studio DAW market. You also can switch to a special mode with 16 analog + 16 ADAT input channels for use with Pro Tools. After returning from our minimalist impromptu space jazz odyssey, we threw the faders up at unity, set a little bit of panning and hit play. A state-of-the-art design that was heralded by Sound on Sound magazine as "the fastest Thunderbolt interface on the planet." But in the decades since, this ‘prosumer’ category has literally exploded to dozens of manufacturers producing a myriad of all-in-one interfaces, packed to the gills with extras like mic preamps, hardware inserts, monitor control, headphone amps and expandability via optical cables. Having 11 traditional IEC plugs and one two-piece cable with a big lump in the middle just gets in the way for color-coded zip-tie fanatics like me. More detailed, but much harder to see from five feet away (especially with the grayish-blue-on-blue colors). 48-in/48-out Thunderbolt 2 Audio Interface . Gone are the front panel mic preamps, the headphone outputs, the guitar inputs, the monitor control… leaving nothing but a row of multicolor LEDS, a power button and a sample rate indicator. A good friend (and very talented bassist) dropped by to grab his standup bass, so I asked him to join me in an impromptu jam session with a very quick setup. (Now THAT’s a lot of I/O. Another interesting feature is Channel Profiles. I do voiceover work on occasion. The Studio One Professional’s Pipeline XT plug-in is a brilliant addition that compensates with automatic latency fixes. With Thunderbolt 3 and USB-C now pretty well adopted standards, I’d love to see that change in future versions, even if USB-C offers only half the data speed (but I’m pretty sure 10MBps is up to the chore). As the name implies, the 16A gives you 16. In my opinion a professional unit like this should either have an inbuilt power supply or a substantial external unit that you can lock into the unit like a Universal Audio’s Apollo - but, apart from that this unit is just about perfect. I’m guessing this is the only way it is possible to get so much IO into a 1U rack. And more ins and outs than A Clockwork Orange. My VO chain is a Neumann TLM103 into an AML ezAM16 preamp with just a bit of 2:1 compression from the SSL 611DYN compressor to grease it up on the way in. Getting the Quantum 4848 situated was as simple as connecting a single Thunderbolt 2 cable, hopping online to get the software manager app and a quick check for any firmware updates (PreSonus is seem really on-the-ball when it comes to keeping this current). Since their original ACP88 and DCP8 units first emerged on the scene over twenty years ago, PreSonus have had a few products that I just didn’t jive with. *No, I am not trying to start an in-the-box vs. out-of-the-box war. That said, none of these things are deal-breakers for me, especially when you realize just how much interface you’re getting for the price. 32 channels analog, plus up to another 16 via Adat optical.). I then had a session with a female vocalist doing some tracks with an almost 90’s Portishead trip-hop kind of vibe. Lastly, my somewhat quirky-acting GSSL was strapped across the final mix (along with my favorite Oxford Inflator VST). The DB25 cables, though a bit more of an investment, also offer a simplified solution to the nasty business of cable management. 25% Off: PreSonus 12V DC/5A Power Supply for Quantum/Quantum 2 and Quantum 4848 Thunderbolt 2 Audio Interface MFR: 93-00000093. A 48 in, 48 out interface with 32 analogue in and outs and 16 ADAT in and outs which can offer latency close to that possible with Pro Tools HDX or UA Apollos. The 1U rackmount 48x48-channel interface is a fast, excellent-sounding interface that takes advantage of high-speed Thunderbolt 2 connectivity to achieve extremely low latency. While people have different tolerances and perceptions of this very small amount of time, most of us work can work at 128 sample buffers without noticing anything at all. Never once did I hear the converters adding or taking away a single thing. At 96kHz and a 64 sample hardware buffer, the signal can go round trip from source to DAW to playback with just a skoch north of a single millisecond (1.1ms). The Quantum provides a rudimentary-but-effective three stage LED for every channel. I did not test the Quantum with an external word clock source – nor did I hear any of the telltale signs that the clocking was unstable (this was a far bigger issue twenty years ago – and it’s fairly uncommon to see project studios using a dedicated digital clock). The Quantum 4848 stands up to all of them, it is a great sounding interface, I have it hooked up to an SSL 6 mixer, and it sounds great My monitored are LCR Dynaudio BM15 and Stereo pair Dynaudio Bm5 MK111 and Stereo Pair Tanynoy Reveal monitors The Presonus Quantum 4848 is a pro level interface for a relatively low price. PreSonus, the makers of Studio One, continue to make inroads into pro recording studios with the announcement of the Quantum 4848: 24-bit 192 kHz Thunderbolt Audio Interface with … The Presonus Quantum 4848 is a professional choice interface for a relatively low price. My Mac sports Thunderbolt 3/USB3.1-C connections, meaning I had to spend $50 for a Thunderbolt 3-to-2 adapter (Apple are notorious gougers for such things) and another $20 for a 2m cable. 32 analogue IO over line level Dsubs. I opted to test with six DB25-to-XLR cables from Seismic Audio. It’s really as simple as that. He immediately remarked that, despite the quick and ad hoc microphone setup, the PreSonus had “a realism” he’d picked up on. Some of my 500 series gear, wonderful as it is, lacks detented pots so the tendency is to capture the results in the moment and hope you won’t need to retrace your steps later. On the plus side, this makes cable management a much breezier affair, especially if you have other units or patchbays in your rack that use this standard. Put another way, it’s not “negligible”, it’s basically non-existent. And the line-lump power supply? (The PreSonus Quantum Range – Baby Bear, Mama Bear and Big Poppa Bear). Having a quick visual reference is great – but trying to pick out which of the 32 LED’s pertains to the channel in question from a distance? The Quantum 4848 is the perfect solution for the recording professional to take their analog gear into the digital domain. Our content is informed by a team who are practitioners, meaning our tutorials are devised to help those working in real-world scenarios. Complete digital integration for the analog studio. Kick and snare went to my SSL 611DYN and EQ 500 series for their trademark thwack, slap and immediacy. Thunderbolt 3 requires an adapter, not included. Then in 2019, PreSonus added the Quantum 4848 at a head-turning price of $1499.95. The perfect companion for your patchbay. Stack up to 4 Quantum 4848 interfaces via Thunderbolt to create a 192x192 system. Vintage gear can be noisy. Is there a downside? Those with Thunderbolt 1 connections can still connect, but your data speeds are still at the original Thunderbolt speed. Overall I could not be happier with the Presonus Quantum series. As the name might suggest, you get 48 channels up and down (32 analog and up to 16 more via adat optical) via a single Thunderbolt 2 connection. The PreSonus Quantum 4848 is a low-latency audio interface which, via analog and ADAT connections, gives you up to 48 inputs and up to 48 outputs. Immediately upon launching I was asked if the Quantum 4848 was in charge now, I replied ‘yes’ and that was that. The PreSonus Quantum 4848 offers stunningly real, bell-clear, natural and realistic A/D/A conversion with signal “round trip” times besting any other unit at its price point. Windows. My previous setup prior to installing the Quantum was a Focusrite Clarett 8PreX with the venerable Apogee AD and DA16x converters running in via adat optical connections and the addition of a Switchcraft 9625 patchbay connected via DB25 cables. PRESONUS Quantum 4848 | 48x48 Thunderbolt 2 / 192kHz, To leave feedback please select your rating above or login to leave a written review: A fun fact about me? Even ten years ago, the idea of taking a digital signal back into AnalogTown for a compressor or EQ would get you many a sideways look – best practices were to avoid any unnecessary A/D/A conversions – even with the best of hardware on both sides. And if this for some reason doesn’t seem like an amazing deal, let’s not forget PreSonus includes a license to their acclaimed Studio One Professional workstation software. True, recording a forty-something male assuring you that “Orchard Tree Bank will always be… there for you.” isn’t quite the same as tracking vocals for Adele – but it’s the human voice nonetheless. Buy now & save $10. I was immediately satisfied with the amount of clarity the Quantum provided. Designed for the needs of the recording professional, the PreSonus Quantum 4848 Thunderbolt 2 Audio Interface is the perfect solution to take your analog gear into the digital domain. Up to 4 Quantum 4848 interfaces via Thunderbolt 2 can be used simultaneously for up to 192x192 simultaneous inputs and outputs Signal LEDs for all 32 DB25 channels Compatible with Mac OS X 10.11.6 or higher, Windows 10 The Antelope Audio Orion 32 ($2495) would be the next closest thing with regards to capability and price. That’s going to be a challenge, even under the best of conditions. B. Judging by the following real-world tests, it would appear that PreSonus would agree. They’re not alone in this range of features and prices, of course – with bigs like Focusrite, Antelope, Universal Audio, Apogee, etc. Converters are like vodka – the more you taste, the cheaper it is. Recording at 48kHz with a 32 sample hardware buffer, headphone mixes had no issue whatsoever with perceived latency. The Quantum’s DAC gave me a very “real” picture of where things sat, not just from left to right, but from front to back, and even behind. It even revealed the compressor working just a bit too hard and I subsequently backed it off from a setting that’s been untouched for a year. Church actually started his journey on analog tape and consoles, a fact that he is alternately ashamed and proud of. Designed for the recording professional, the 48x48-channel Quantum 4848 is PreSonus®’ fastest and best-sounding audio interface, achieving extremely low … If you’ve been on the fence about giving this very impressive DAW a try (we’re always complaining about our existing ones, aren’t we?) My computer, a 2018 Mac Mini (6-core 3.2gHz i7, 32GB RAM, still running Mojave as of press time) needed a single restart after installation and the two have been the bestest of pals since. A 48 in, 48 out interface with 32 analogue in and outs and 16 ADAT in and outs which can offer latency close to that possible with Pro Tools HDX or UA Apollos. Yes, you can most certainly pay more for Mogami and the like, but given the very short cable runs, I decided to go with the budget option (frankly, this was not my first Seismic Audio purchase, and I have found them to be reliably solid performers). On top of that is 16 digital channels. macOS® 10.13 or higher (64-bit only) Intel® i5 or better 4 GB RAM (8 GB or more recommended) Mac and Windows Systems In terms of audio performance the unit sounds Stellar, to be honest all mid priced interfaces sound great nowadays so I wouldn’t have expected anything else. The unit’s converters allow for low-latency recording, as well as dynamic ranges greater than 120 dB on both the ADC (analog to digital) and DAC (digital to analog) side. PreSonus have released the Quantum 4848 Thunderbolt interface. They were absolutely identical. Of course, we have to give credit to the Dynaudio’s here, they paired nicely with the Quantum’s output. Green means go, yellow means slow and red means… well… red in digital terms is never a good thing. The 1U rack-mount unit sports A/D converters with 120 dB dynamic range on every input and output and offers 32 channels of DB25 line-level I/O. ), I heard a level of detail that my previous setup comparatively “glossed over” in the 4-5k range – right where metal guitars tend to get a bit of high-shelving. If what you want is a great interface that’s content to be “just an interface” listen to the Quantum first – it might be the only one you need to hear. The professional edition of PreSonus Studio One is included.). You should absolutely mentally add at least several hundred dollars to the price for cabling. Prior to the year 2000, audio interfaces tended to be straight-ahead affairs with nothing more than line level inputs and outputs. In physical acoustics parlance, that’s like hearing the original source from about a foot away. Digital I/O is also plentiful. Up to 4 Quantum 4848 interfaces via Thunderbolt 2 can be used simultaneously for up to 192x192 simultaneous inputs and outputs Signal LEDs for all 32 DB25 channels Compatible with Mac OS X 10.11.6 or higher, Windows 10 A true Thunderbolt device, up to 4 Quantum 4848 interfaces can be stacked to create a 192×192 system—or combine the Quantum 4848 with Quantum and Quantum 2 interfaces to add PreSonus’ recallable XMAX Class A high-headroom preamps. The PreSonus Quantum 4848 offers stunningly real, bell-clear, natural and realistic A/D/A conversion with signal “round trip” times besting any other unit at its price point. And though the 4848 may be a wee bit misleading in the sense that only ⅔ of the connections are analog, expanding it with additional converters (or just buying a second unit) gives you a simply absurd amount of I/O. The PreSonus Quantum 4848 delivers all of the above. But back then was back then and, from the looks of it, they’re going to keep becoming a bigger player in the pro audio world (I have been especially impressed with their StudioLive mixers, Sceptre monitors and Studio One DAW software). But honestly, using your interface as a signal monitor versus your computer’s display is always a losing proposition for the hardware. Same. The Q4848 is a perfect match "level wise" to my console and the pile of processors connected to it. Upper sibilant ranges came through with no slush or sear – making the chore of de-essing a breeze. The front panel has no external controls only small LED’s that give you a representation of signal level by either turning green for -50dBFS, yellow for -20dBFS and red for 0dBFS. The Quantum’s rear panel is jam-packed with twin Thunderbolt 2 ports, MIDI I/O, optical I/O and a host of balanced audio inputs and outputs. It’s just a borderline obsessive-compulsive disordered preference from somebody who likes to keep the cables in the back tidy. Learn more about Quantum 4848 Audio Interface here: https://www.presonus.com/products/Quantum-4848 Complete digital integration for the analog studio. Using Studio One’s Pipeline XT plug-in, externally routed hardware is a simple drag-and-drop affair the same as it would be for any other plug-in, with no need to fidget with sample-delays to compensate. If you’re in this category, it certainly deserves an audition, even if it is priced a thousand bucks higher (and remember, you still have to buy all those DB25 cables). Avoid snakes that are for AES/EBU or Yamaha connections – the routing is different.). Zooming in on the waveforms, you could see absolutely zero trace of difference between the two. Pro Tools Standard limits your I/O access when you use third-party audio interfaces. 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