Prism Sound Lyra 2 USB Audio Interface

Prism Sound Lyra 2 USB Audio Interface

Prism Sound Lyra 2 USB Audio Interface

Prism Sound Lyra 2 USB Audio Interface

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Product Highlights

  • Class-Compliant USB 2.0 Interface
  • Up to 24-Bit / 192 kHz Resolution
  • 2 x XLR Inputs with Phantom Power
  • 2 x 1/4" Instrument Inputs
  • 2-Input / 4-Output Line-Level 1/4" Jacks
  • 1/4" Headphone Output, Word Clock I/O
  • ADAT Optical & S/PDIF Coaxial I/O
  • Selectable Input Pads & Limiters
  • Low-Latency Performance
  • Mac & Windows Compatible
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Prism Sound Lyra 2 overview

  • 1Description

The Prism Sound Lyra 2 is a USB audio interface designed to deliver reliable precision and high-resolution audio I/O for musicians, vocalists, songwriters, and audio engineers in home, project, and mobile studios. Its stable clock allows operation at up to 24-bit / 192 kHz resolution with high jitter rejection. With latency as low as 0.08 ms, it is well suited for recording, overdubbing, and even send-and-return routing.

Line, instrument, or microphone sources can be connected via the stereo 1/4" TRS inputs, two 1/4" instrument inputs, and two XLR 3-pin inputs. Phantom power is selectable as are the input pads and built-in limiters. The four 1/4" line outputs are ideal for connecting to speakers and power amps, while the front-panel 1/4" jack offers dedicated level and mix controls for independent headphone monitoring. Additionally, digital connectivity includes RCA coaxial for S/PDIF or AES3, TOSLINK optical for S/PDIF or ADAT, and BNC for word clock. An RJ45 port is present for future AVB integration.

The Lyra 2 is compatible with Mac OS X and Windows systems via its class-compliant USB 2.0 connectivity. An IEC power cable, USB cable, and XLR to RCA adapters are included.


Signal Path
Analog and digital input channels are available as inputs for your audio workstation software through the host computer's audio driver. Similarly, analog and digital outputs, and stereo headphone outputs can be played independently. For low-latency monitoring to headphone or main outputs, each output pair can optionally be driven from the built-in DSP mixer with an individual local mix of any selection of inputs through the controller applet. All analog inputs are electronically balanced with automatic unbalanced operation. Analog outputs are electronically balanced with bootstrapping (level is maintained if one leg is grounded).
Verifile Technology
Verifile is a radical new proprietary technology exclusive to Prism Sound, which allows computer audio streams and recorded files to be quickly checked for a wide range of clicks, errors, and dropouts, without any compromise in the audio content or any additional metadata. Verifile is a fragile steganographic process, which embeds derivative data within the dither of the ADC, containing a rolling hash code which allows the audio data to be thoroughly and continuously checked. Recovery of this data from the audio stream or file enables verification that the stream or file contains exactly the audio data that was produced by the ADC at the time of recording. Any incorrect samples, missing or repeated audio segments or any other audio errors in the resulting files can be reliably detected, providing complete confidence that the recorded file is error-free. Processing such as EQ, level changes, additional redithering, or sample-rate conversion done to a Verifile recording will result in a failure to decode the rolling hash code in the dither and hence indicate that the recording is not an original.
Reliable Quality
Prism Sound uses precise software calibration techniques in its converters to avoid the unreliability of pots and tweaks. Minimizing noise, interference, and hum was a priority in the design. All the analog circuits have galvanic isolation, while the unit's electronically balanced I/O allows it to handle common mode interference sources and trouble-free connection to unbalanced equipment.
USB 2.0 Compatibility
The Lyra 2 is easy to connect to your computer and to your outboard gear. For both Mac and Windows platforms, there is a controller application to configure the unit and control its built-in mixer and various functions. Aside from the monitor and headphone level controls, everything else is operated solely from the Lyra controller application. The controller software opens on-screen as a separate panel alongside your existing editing software. Since the Lyra 2 is UAC2 compliant, it will also work with recent Linux and Android builds, although no control panel is provided.
Flexible I/O
Utilizing the same mic amps as Orpheus, the Lyra offers software-controlled gain in 1 dB steps, switchable phantom power, 20 dB pads, and low noise and distortion. The inputs are auto-sensing with software override. Inputs one and two can be microphone, instrument, or line. Analog inputs have individually-selectable Prism Sound Overkiller peak limiters built in—just as on the ADA-8XR and Orpheus—to catch those fast transients. The Overkiller threshold automatically follows the operating line-level selection (+4 dBu or -10 dBV). Overkillers are ideal for percussive sounds, particularly drums, where headroom can be a problem.

The coaxial digital I/O can be switched in the Lyra 2 controller applet between S/PDIF and AES3 formats. This control changes the operating voltage and the channel status format and is complemented by two supplied adapters that provide external XLR connections for AES3 devices. The optical digital I/O ports on Lyra 2 can also be configured as ADAT I/O. Other connections include word clock sync I/O on BNC connectors.
Low-Latency Digital Mixer
A built-in digital mixer can be configured from the host computer to provide foldback feeds to performers, each with their own stereo mix of workstation playback and any of the inputs. This provides console quality local mixing—each output has its own independent mixer, with channel strips for all inputs and workstation feeds, complete with fader, pan/balance pot, solo and mute buttons, and full metering. Strips can be stereo or mono, and the mixes are dithered with filtered coefficients, just as in a top-end digital mixer. With the Prism Sound DSP mixer, the latency is as low as 0.08 ms at a 192 kHz sampling rate.
Sample Rate Conversion & Noise Shaping
Prism Sound's renowned synchronous sample-rate conversion allows outputting to various external devices at other sampling rates. The sample rate converter can be used at the outputs as well as the inputs, so as well as dealing with unsynchronised or wrong-rate digital inputs, Lyra can also generate, say, a live 44.1 kHz output from a 96 kHz session. The digital output is equipped with the four Prism Sound SNS noise-shaping curves, allowing you to reduce to 16-bits for CD at mastering-house quality.
Stable Clocking
State-of-the-art clock generation with proprietary hybrid 2-stage DPLL keeps jitter to a minimum. The sample rate can be sourced from the local clock, BNC word clock, or digital input stream.
UPC: 669014270894
In the Box
Prism Sound Lyra 2 USB Audio Interface
  • IEC Cable
  • USB Type-A to USB Type-B Cable
  • XLR Female to RCA Male Adapter
  • XLR Male to RCA Male Adapter
  • CD with Software and Manuals
  • Limited 3-Year Warranty
  • Table of Contents
    • 1Description

    Prism Sound Lyra 2 specs

    System Requirements Mac OS X 10.5 or later (Intel only)
    Host application that supports Core Audio

    Windows Vista or later (32- / 64-bit)
    Host application that supports ASIO
    Inputs 2 x XLR 3-pin female mic inputs (balanced)
    2 x 1/4" TS instrument inputs (unbalanced)
    2 x 1/4" TRS line inputs (balanced or unbalanced)
    1 x TOSLINK optical input (supports S/PDIF or ADAT)
    1 x coaxial input (supports S/PDIF or AES3)
    Outputs 4 x 1/4" TRS line outputs (balanced or unbalanced)
    1 x 1/4" TRS headphone output (unbalanced)
    1 x TOSLINK optical output (supports S/PDIF or ADAT)
    1 x coaxial output (supports S/PDIF or AES3)
    Word Clock 1 x BNC input
    1 x BNC output
    USB 1 x USB Type-B
    Ethernet 1 x RJ45 (for future AVB expansion)
    Input Sensitivity Line Inputs: +4 dBu (0 dBFS = +18 dBu) or -10 dBV (0 dBFS = +6 dBu)
    Input Impedance Line Inputs: 14.5 kOhms
    Mic Inputs: 5.5 kOhms
    Instrument Inputs: 1 MOhm
    Output Level Analog Outputs: +4 dBu (0 dBFS = +18 dBu) or -10 dBV (0 dBFS = +6 dBu)
    Output Impedance Balanced: 100 Ohms
    Unbalanced: 50 Ohms
    Balance Output: >50 dB
    Total Harmonic Distortion (THD) Line Inputs: -117 dB at -0.1 dBFS (0.00014%)
    Mic Inputs at +10 dB Gain: -116 dB at -0.1 dBFS (0.00016%)
    Mic Inputs at +40 dB Gain: -110 dB at -0.1 dBFS (0.00032%)
    Analog Outputs: -107 dB at -1 dBFS (0.00045%)
    THD + N Line Inputs: -111 dB at -0.1 dBFS (0.00028%)
    Mic Inputs at +10 dB Gain: -108 dB at -0.1 dBFS (0.00040%)
    Analog Outputs: -106 dB at -0.1 dBFS (0.00050%)
    Sample Rate Converter: < -137 dB at -0.1 dBFS (0.000014%)
    EIN Mic Inputs at +30 dB Gain: -128.5 dBu (0-Ohm source), -126.3 dBu (150-Ohm source)
    Mic Inputs at +40 dB Gain: -130.9 dBu (0-Ohm source), -127.6 dBu (150-Ohm source)
    Mic Inputs at +50 dB Gain: -131.2 dBu (0-Ohm source), -127.7 dBu (150-Ohm source)
    Mic Inputs at +60 dB Gain: -131.4 dBu (0-Ohm source), -127.8 dBu (150-Ohm source)
    Dynamic Range Line Inputs: 116 dB (-60 dBFS)
    Analog Outputs: 115 dB (-60 dBFS)
    Sample Rate Converter: >138 dB (0.000013%, -60 dBFS)
    Gain Range Mic Inputs: 10 to 65 dB in 1 dB steps (0 dBFS = -56 to -1 dBu)
    Instrument Inputs: 10 to 65 dB in 1 dB steps (0 dBFS = -38 to +17 dBu)
    Pad Mic Inputs: -20 dB (switchable per channel)
    Instrument Inputs: -18 dB
    Gain Accuracy ±0.05 dB
    Attenuation LF Roll-Off (Line Inputs): -0.05 dB at 8 Hz, -3 dB at <1 Hz
    LF Roll-Off (Mic Inputs): -0.05 dB at 20 Hz, -3 dB at 5 Hz
    LF Roll-Off (Analog Outputs): -0.05 dB at 8 Hz, -3 dB at <1 Hz
    HF Roll-Off (Line/Mic Inputs) at 44.1 kHz: -0.05 dB at 21.1 kHz, -3 dB at 22 kHz
    HF Roll-Off (Line/Mic Inputs) at 48 kHz: -0.05 dB at 23 kHz, -3 dB at 23.9 kHz
    HF Roll-Off (Line/Mic Inputs) at 96 kHz: -0.05 dB at 32 kHz, -3 dB at 47.9 kHz
    HF Roll-Off (Line/Mic Inputs) at 192 kHz: -0.05 dB at 32 kHz, -3 dB at 78 kHz
    HF Roll-Off (Analog Outputs) at 44.1 kHz: -0.05 dB at 21.4 kHz, -3 dB at 22 kHz
    HF Roll-Off (Analog Outputs) at 48 kHz: -0.05 dB at 23.2 kHz, -3 dB at 23.9 kHz
    HF Roll-Off (Analog Outputs) at 96 kHz: -0.05 dB at 32 kHz, -3 dB at 47.8 kHz
    HF Roll-Off (Analog Outputs) at 192 kHz: -0.05 dB at 32 kHz, -3 dB at 76 kHz
    CMRR Line Inputs (20 Hz to 20 kHz): >70 dB
    Mic Inputs (50/60 Hz): >110 dB at all gains
    Mic Inputs (1 kHz): >100 dB at all gains
    Mic Inputs (20 kHz): >90 dB at all gains
    Crosstalk Line Inputs (1 kHz): < -140 dB
    Line Inputs (20 Hz to 20 kHz): < -120 dB
    Analog Outputs (1 kHz): < -135 dB
    Analog Outputs (20 Hz to 20 kHz): < -120 dB
    Inter-Channel Differential Phase Line Inputs (10 Hz to 5 kHz): ±0.25°
    Line Inputs (5 kHz to 20 kHz): ±1.0°
    Line Inputs (20 kHz to 50 kHz): ±2.0°
    Analog Outputs (10 Hz to 5 kHz): ±0.4°
    Analog Outputs (5 kHz to 20 kHz): ±0.25°
    Analog Outputs (20 kHz to 50 kHz): ±0.5°
    Built-in Limiter Line Inputs: Progressive limiter, auto-aligning, selectable per channel
    Filter Line Inputs: High-pass filter, -3 dB at 80 Hz, 40 dB/decade (selectable for channels 1-2)
    Phantom Power +48 VDC, switchable per channel
    Supported Digital Audio Standards S/PDIF (coaxial or TOSLINK)
    AES3 (coaxial)
    Sample Rates S/PDIF or AES3: Up to 192 kHz
    ADAT (8-Channel): Up to 48 kHz
    ADAT S/MUX (4-Channel): 88.2 kHz or 96 kHz
    Bit Depth Digital Input: 24-bit
    Digital Output: 24-bit or reduction to 16-bit using flat TPDF dither or Prism Sound SNS (Super Noise Shaping)
    AES/EBU AES3 operation via supplied XLR to RCA adapters and AES3 mode (2 V p-p, 110 Ohms, AES3 channel status)
    Channel Support Digital Input: Channel status ignored
    Digital Output: Full implementation, consumer (S/PDIF) or professional (AES3)
    Sample Rate Converter Input: Selectable at S/PDIF input (allowing input at any sample rate)
    Output: Selectable at S/PDIF output (output sample rate can be referenced to word clock, digital input, or local clock at any sample rate)
    Digital Performance Input: Bit transparency maintained (allows recording of Dolby or DTS streams)
    Output: Bit transparency maintained in 24-bit mode (allows playback of Dolby or DTS streams to external decoder)
    Clock Sources Local, word clock, S/PDIF, or ADAT
    Clock Accuracy ±50 ppm
    Jitter Rejection Filter >60 dB/decade above 100 Hz
    Latency 0.57 ms at 44.1 kHz
    0.52 ms at 48 kHz
    0.2 ms at 88.2 kHz
    0.18 ms at 96 kHz
    0.09 ms at 176.4 kHz
    0.08 ms at 192 kHz
    Ambient Operating Temperature 32 to 95°F / 0 to 35°C
    Relative Humidity 85% maximum
    Fuse Rating 0.5 A (T), 0.8" / 20 mm, glass
    Power Consumption 15 W
    Power Requirement 90 to 250 VAC, 50 to 60 Hz via IEC 6A connector
    Dimensions (W x D x H) 11.2 x 9.5 x 2.0" / 285 x 242 x 50 mm (including feet)
    Weight 4.6 lb / 2.1 kg

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