Recently, I’ve been working on streamlining my studio setup, and part of that plan was to ditch my patchbays and integrate all of my beloved analog gear via hardware inserts. I don’t run a commercial studio (I’m the sole engineer), so my main goal is to simplify my personal workflow. I have an Antelope Galaxy 32 Synergy Core converter [Tape Op #148]. After leaving several outputs free, when using the rest of the I/O for hardware inserts I found I was still short of I/O to connect all of my analog gear. I thought about buying another Antelope interface, but man, they are not cheap! After many conversations with audio friends about potential solutions, I came across the Ferrofish Pulse 16 MX 16 by 16 AD/DA converter with ADAT and MADI. Ferrofish is a German company that is managed by the Synthax brand, which also includes RME, and this interface seemed like a perfect solution for expanding a studio setup’s I/O conversion at a reasonable price.
The Pulse 16 MX is an upgraded version of the original Pulse 16 (ADAT and MIDI only), which includes a MADI option. It converts its 16 channels of analog inputs and outputs (TRS) to either ADAT (up to 96 kHz) or MADI (up to 192 kHz). Adjustments and assignments for clocking, I/O routing, levels, and headphone input selection and level are made via two small displays on the front of the unit. Though I’m not a huge fan of small windows with deeply buried layers of functionality, the Pulse 16 MX is straightforward and intuitive to configure. I never look forward to integrating a new converter into my studio. There always seemed to be a billion potential snafus with devices talking to each other, so I took a deep breath before diving in.
After connecting most of my remaining outboard gear (leaving a couple of channels free for new equipment en route), integrating the Pulse 16 MX via MADI to my Antelope Galaxy 32, and setting it up the Pulse 16 MX to receive word clock signal, I switched everything on. No smoke! Inside the Antelope software control panel, I configured the routing to see the MADI I/O for channels 33-48. Then, I made sure my Pro Tools I/O was seeing everything correctly. Finally, I set the I/O levels for the Pulse 16 MX with its solid-feeling jog wheel. To my delight, it just worked! Ferrofish rates the Pulse 16 MX’s latency at three samples over MADI, which is extremely fast. After measuring outboard gear latency and configuring/labeling the inserts in Pro Tools, I was in business. Now, I can quickly audition different compressors or signal chains right from the mix position by simply selecting my analog processing via Pro Tools inserts just like I would a plug-in.
The best part of the Ferrofish Pulse 16 MX is that I have not thought about it (or touched it) since I originally set it up. That is high praise! During its five weeks of operation in my studio, it has been completely trouble-free and rock solid. I am keeping a patchbay or two, and some TT cables around for a rainy day if I ever change my mind or have a need for it, but for now, I am enjoying this setup and my new streamlined workflow. I recommend the Ferrofish Pulse 16 MX: It turned out to be the ideal expansion to my existing audio interface’s I/O capabilities without breaking the bank.
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