BURL Audio: BURL Black Audio Interface

I’m frequently asked by friends and clients which audio interface they should upgrade to for their studio. My usual advice is to focus on features, as most modern interfaces deliver similarly-excellent sound quality. However, after using the new BURL Black series interfaces, I must retract that recommendation. The Black series offers performance comparable to BURL’s high-end Green series, but at a more accessible price point. There are many excellent high-end audio interfaces, but my experience with the BURL Black series proved to me that interfaces can be accurate and well-balanced yet also add serious sonic flavor to a recording path.

The BURL Black series modules, also known as daughter cards, are designed to fit into BURL’s new Mothership 3 series B80 and B16 rack-mount chassis. The lineup currently includes the 16 analog input BAD16, the 16 analog output BDA16, and the BDA12 Orca monitor card, which features monitor control for two stereo pairs of monitors, a built-in headphone amp, and 12 additional line outputs. Both the BDA16 and the BDA12 utilize BURL’s Class A discrete circuit path, while the BAD16 combines the Class A circuit path with BURL’s BX8 transformers. These discrete circuit designs aim to create the sonic warmth and depth of the finest vintage tape machines and console electronics. I’ll dive deeper into how these cards sound shortly.

My system consisted of the 2-rack-space Mothership 3 B16 and featured three slots. These were filled with a BAD16 input card, a BDA12 output card, and the BMB1 DigiLink motherboard. The BMB1 includes two DigiLink ports and word clock connections. MADI, DANTE, AES, and Waves SoundGrid interface cards are also available as options.

All audio analog connections are handled via D-sub DB-25 connectors on the rear of the cards, except for the headphone jack on the front panel. The input and output cards feature single-LEDs for each channel that glow brighter as the signal level increases. The monitor card indicates left and right signal levels and also displays which speaker output is active. The BMB1 card provides status indicators for power and sample rate (44.1 kHz to 192 kHz) and allows the selection of the clock source (internal, word clock, or DAW).

Upon setting up and testing the system, I configured Avid Pro Tools and connected my headphones to the BDA12’s headphone jack. As I increased the volume pot, I was immediately impressed. At just about 25 percent volume, my Sennheiser HD 650s [Tape Op #43] were already loud enough to enjoy a Top 40 track, and the clarity and power of the headphone amp was striking. I’ve rarely been impressed by integrated headphone amps, but this one is exceptional. Honestly, BURL should consider marketing it as a standalone product!

Next, I recorded vocals, acoustic guitar, and bass using the BAD16. My usual recording chain – Neve 1073 > Summit TLA-100 > interface – suddenly sounded better. The BAD16 allowed me to achieve a clean and neutral sound effortlessly, and when I pushed the input levels the transformers added a touch of saturation, creating a subtle low-frequency boost and warm harmonics. The tonal possibilities with the AD converter are broad. It’s been a long time since I have spent time considering how hard to hit my “recorder,” but this interface reintroduced the art of adding just the right amount of "extra sauce" to a recording.

Afterward, I used the BDA16 and BAD12 for analog inserts while mixing a traditional jazz quartet album for alto saxophonist Justin Chart. The album, recorded during live shows onto a ZOOM LiveTrak at 96 kHz/32-bit, was well-captured, but routing the tracks through the BURL Black converters added some needed depth and harmonic coloration. The BURL converters worked seamlessly with various vintage and modern tube and solid-state outboard processors. During the mix, I adjusted the output gain on the outboard gear to optimize the BAD16’s input stage coloration. The transformer-coupled inputs on the BURL interface proved their worth, offering both tonal versatility and ease of integration with any outboard module.

Finally, I connected outputs 7 to 16 of the BDA12 to my 7.1.4 speaker system. While the BDA12’s monitor pot controls the first three stereo outputs (channels 1-6), I used Ginger Audio’s Sphere app [Tape Op #158] as a software monitor controller for the Dolby Atmos setup connected to line outs 7-16. This allowed me to switch easily between immersive audio, stereo monitors, and headphones, all powered by the BDA12. The monitor and line outputs deliver excellent sound. Compared to my Avid HD I/O [#81], the BDA12 has better low frequency clarity and a more detailed soundstage. While my mix decisions didn’t fundamentally change, the engaging sound of the BDA12 added a level of enjoyment the HD I/O couldn’t match.

I can’t recommend the BURL Black converter system highly enough. The modular design allows for easy expansion, making it suitable for both small and large channel counts. If you’re in the market for a high-quality, versatile interface system, the BURL Black series is well worth exploring. Bundle pricing is available, with a 16-in, 12-out Dante system priced at $7,650.