Prism Sound Titan Rack-Mountable USB Audio Interface

Prism Sound Titan Rack-Mountable USB Audio Interface

Prism Sound Titan Rack-Mountable USB Audio Interface

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Expected availability: 7-14 business days

Product Highlights

  • 1RU Class-Compliant USB 2.0 Interface
  • Up to 24-Bit / 192 kHz Resolution
  • 4 x XLR-1/4" Inputs with Phantom Power
  • 2 x 1/4" Instrument Inputs
  • 4 x 1/4" Line Inputs, 8 x 1/4" Line Outs
  • 2 x 1/4" Headphone Jacks, 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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Connectivity: USB

USB USB & DigiLink Mini for Pro Tools HD

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This item is noncancelable and nonreturnable.

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Prism Sound Titan Overview

  • 1Description

The Prism Sound Titan is a 1RU rack-mountable USB audio interface designed to deliver reliable precision and high-resolution, multichannel audio I/O for musicians, vocalists, songwriters, and audio engineers in home, project, commercial, 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 or microphone sources can be connected via the four XLR-1/4" combo inputs, while two front-panel 1/4" jacks accommodate instruments such as guitars or synthesizers. Phantom power is selectable as are the input pads and built-in limiters. Four rear-panel 1/4" jacks are provided for dedicated line inputs. The eight 1/4" line outputs are ideal for connection to speakers and power amps while the two front-panel 1/4" jacks offer 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 Titan is compatible with Mac OS X and Windows systems via its class-compliant USB 2.0 connectivity. An IEC power cable, USB cable, rackmount ears, and XLR-to-RCA adapters are included.

Signal Path
Eight analog input channels and up to ten digital input channels are available as inputs for your audio workstation software through the host computer's audio driver. Similarly, eight analog output channels, up to ten digital output channels, and stereo headphone outputs can play 20 different channels. 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 Titan 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 Titan controller application. The controller software opens on-screen as a separate panel alongside your existing editing software. Since the Titan is UAC2 compliant, it will also work in recent Linux and Android builds, although no control panel is provided.
Flexible I/O
The Titan offers four high-grade mic preamps with software-controlled gain in 1 dB steps, individually switchable phantom power, 20 dB pads, and low noise and distortion. Four 1/4" TRS jacks accommodate line-level signals, while the four XLR-1/4" combo jacks support both mic and line inputs, with digitally-controlled mic gain in excess of 60 dB. Two front-panel 1/4" inputs also support direct-injection (DI) instrument connections. RIAA equalization can be selected in the controller applet on channels one and two so that turntables can be connected for archiving or sampling applications. By selecting the input type (Mic or DI), low- or high-impedance cartridges can be loaded with suitable termination impedances. All 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 Titan 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 Titan 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.
Flexible Monitoring
To facilitate surround sound monitoring for HDTV and DVD, the eight analogue outputs allow monitor setups from multi-stereo up to 7.1 surround. The Titan's volume knob can be assigned to any or all of the analogue or digital outputs for use as a control room monitor level. There are two headphone amps, suitable for all types of headphones, each with its own independent volume control. As well as having its own workstation feed and mixer, the headphones can also be quickly switched across the other output pairs, which is handy for setting up.
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, the Titan 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 CDs 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.
Standalone Operation
The Titan can also operate in a standalone mode using its ADAT or coaxial digital I/O connections. Once set up using the Titan controller applet, the unit can be disconnected from the host computer and used independently. The Titan will retain its settings when powered down so even if it is switched off, it can be re-powered and standalone operation can continue with the automatically stored settings.
Comprehensive Indicators
With ten multi-segment bargraphs with overload indication (assignable to inputs or outputs), Overkiller LEDs, digital input lock-status indication, sample rate conversion and host/master sync LEDs, and illuminated volume controls, the Titan makes viewing interface activity easy.
Expansion Slot
The expansion slot supports Prism Sound's MDIO expansion cards, which provide alternative host connections. The host is usually a computer, and the Titan interface provides a means of connection between the host and the external analog and digital audio I/O ports. Without an MDIO expansion card fitted, the host connection would always default to the USB connection. The MDIO expansion slot provides an alternative host connection. It does not necessarily disable the USB port, but in the case of the Pro Tools interface MDIO-PTHDX, the USB port is switched off when the Pro Tools interface is to be used.
UPC: 669014270948
In the Box
Prism Sound Titan Rack-Mountable 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
  • RACK-EAR-PR Rack-Mounting Ears for Orpheus/Titan Audio Interface (Pair)
  • Allen Key for Rackmount Ears
  • Software CD
  • Limited 3-Year Warranty
  • Table of Contents
    • 1Description

    Prism Sound Titan Specs

    System Requirements Mac OS X 10.4 or later (Intel only)
    Host application that supports Core Audio

    Windows Vista, 7, or 8 (32- / 64-bit)
    Host application that supports ASIO
    Inputs 4 x XLR-1/4" combo jacks(balanced or unbalanced)
    4 x 1/4" TRS line inputs (balanced or unbalanced)
    2 x 1/4" TS instrument inputs (unbalanced)
    1 x TOSLINK optical input (supports S/PDIF or ADAT)
    1 x coaxial input (supports S/PDIF or AES3)
    Outputs 8 x 1/4" TRS line outputs (balanced or unbalanced)
    2 x 1/4" TRS headphone outputs (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 (75 Ohms)
    1 x BNC output (75 Ohms)
    USB 1 x USB Type-B
    Ethernet 1 x RJ45 (for future AVB expansion)
    Expansion Slot MDIO (for alternative digital multichannel I/O)
    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%)
    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)
    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 1-4)
    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
    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)
    Clocking Master: Local, word clock, S/PDIF, or ADAT
    Slave: Bus master (another interface or host computer)
    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, ceramic
    Power Consumption 35 W
    Power Requirement 90 to 250 VAC, 50/60 Hz via IEC 6A connector
    Dimensions (W x D x H) Desktop: 17.3 x 11.4 x 2.0" / 440 x 290 x 50 mm (including feet)
    Rackmount: 19.0 x 11.4 x 1.8" / 483.0 x 290.0 x 44.5 mm (including rackmount ears)
    Weight 8.2 lb / 3.7 kg

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