Prism Sound is best known for their world-class digital converters. A few years back, the company released the Orpheus FireWire interface. Soon, new members were added to the family — Atlas, Titan, Lyra 1, Lyra 2 — all eschewing FireWire in favor of USB. Both Lyra models incorporate the audio path and clock circuitry of the Orpheus platform in a smaller form factor for users who do not need eight channels of conversion. I tested the Lyra 2.
Before I tested the Lyra 2, I foolishly thought it was just like any other portable converter, but with a price inflated to take advantage of the prestige in the Prism Sound name. This assumption was completely wrong. In addition to retaining the fidelity found in more expensive Prism gear, the Lyra 2 features less obvious capabilities that are truly professional-grade. I normally avoid listing features, but the Lyra 2 deserves an overview.
The Lyra 2's internal clock is top-tier, featuring Prism's CleverClox, a hybrid two-stage phase-locked loop (PLL) that eliminates jitter. The converters are fully-floating (isolated) for enhanced noise rejection. In terms of I/O, there is a lot going on. Lyra offers up to four analog monitoring channels; stereo AES3 and S/PDIF digital I/O; eight channels of digital I/O via ADAT optical; plus a stereo headphone out. There are two reference-quality mic preamps, two high-impedance instrument inputs, an RIAA phono preamp, selectable Overkiller input limiters, word clock I/O, and more. On the processing side, Lyra can manage an M/S matrix on mic inputs, do real-time sample-rate conversion, and dither using Prism Sound's own Super Noise Shaping (4 curves included). A software mixer provides low-latency monitoring and gives users a graphical interface for routing. However, the unit will also work in standalone mode. You can also allow the DAW to directly control aspects of the Lyra 2, which makes using the interface truly seamless. The front panel has rotary encoders for volume (assignable to selected channels) and headphone level.
Because the Lyra 2 is less than standard 19'' width, Prism offers custom rack ears. Why am I talking about this? Because most partial rack units have poor add-on ears. The units droop over time. They move when you plug in cables. The Lyra 2's mounts have a support buttress that keeps the device in place. I've been reviewing gear for a while, and I've rarely seen this level of detail for accessories. It speaks directly to the quality of this product.
I tested the Lyra 2 with Sequoia, Pro Tools, and JRiver's PonoPlayer software on Windows 7 64-bit. I used the Lyra 2 as pitcher (D/A) or catcher (A/D) in mastering scenarios. Prism's mixer software lets you save presets, so it's easy to switch routing once you find what you like.
So what's the deal with the converters? After doing shootouts with nearly ten brands, I developed a four-quadrant grid where I could place different models according to sound. Some are clear, some are clean, others have a tight bass response, while others have top-end "air." But I had a difficult time forcing the Prism converters into my artificial classification structure. They are accurate but not clinically neutral. They have good bass extension but I would not say they are super tight on the bottom. They clearly portray the high frequencies of the source but do not impart false sparkle at the top. But do they have their own sonic signature? In my opinion, the Lyra 2 converters stand out on the upper midrange. From approximately 2 kHz to 8 kHz, there is something different than what I'm used to. At first, I thought it was a boost of some kind, but double-checking with other converters ruled out that hypothesis. After auditioning more sources, I concluded that the Lyra 2's converters present exceptional definition in the upper mids, in a way that I'm not accustomed to. This added clarity can be good or bad, depending on the source. For grand piano, acoustic guitar, and some female vocalists, the Lyra 2 can showcase nuance and performance. However, if you're recording a lip-smacking singer or mouth-noise monster for a voiceover, you might be less appreciative. After weeks of testing, I ended up using the Lyra 2's DAC on almost every mastering project I was doing. Prism Sound called and asked for the unit back for a trade show. I apologized and told the company to send an invoice.
I tested the RIAA input, finding it as neutral as my Acoustic Signature reference phono preamp. I also used the mic preamps for vocal sessions in mastering. (Yeah, I know. I wrote that. It's like riding a racehorse by sitting on the jockey's head. It happens, and sometimes, you have to just go Zen and do it. But if you really want vocal-during-mastering stories, ask Joe Lambert.) The preamps had plenty of gain for the low-outputShure SM7 dynamic mic. With an AKG C 414 condenser, the quality was clear with no added coloration. From a workflow perspective, the Lyra 2 allows me to switch easily from mastering, to digital library (e.g., JRiver Pono Library Player), to phonograph, and back. And since I do a few voiceover and sound-cue projects, it is nice to know I have two high-quality mic preamps already in the studio. No need to borrow preamps — plug in a mic, load the preset in the mixer software, and I'm ready to go.
I have been testing a lot of conversion gear lately. And I really like the Lyra 2. With extensive features, flexible workflow, and superb conversion quality, the Lyra 2 is a professional studio unit in a compact package. The USB connection and compatibility with both Mac OS and Windows allow virtually any modern DAW to take advantage of what Prism Sound offers. Demo a Lyra 2 in your own studio, and you'll understand why Prism interfaces can be found in top mastering houses and studios around the globe.
$2695 street;www.prismsound.com Garrett Haines is atwww.treelady.com