𐑯𐑿 𐑜𐑽 𐑛𐑱

𐑲 𐑤𐑳𐑝 ·𐑕𐑢𐑰𐑑𐑢𐑷𐑑𐑼 – 𐑲 𐑜𐑧𐑑 𐑷𐑤 𐑥𐑲 𐑥𐑿𐑟𐑦𐑒 𐑜𐑽 𐑓𐑮𐑪𐑥 𐑞𐑧𐑥. 𐑢𐑳𐑯 𐑝 𐑞 𐑥𐑧𐑯𐑦 𐑐𐑻𐑒𐑕 𐑦𐑟 𐑞 𐑤𐑦𐑑𐑩𐑤 𐑚𐑨𐑜 𐑝 𐑕𐑢𐑰𐑑𐑕 𐑞𐑱 𐑷𐑤𐑢𐑱𐑟 𐑕𐑧𐑯𐑛 𐑿 𐑢𐑦𐑞 𐑘𐑹 𐑐𐑻𐑗𐑩𐑕.

𐑲𐑥 𐑜𐑦𐑝𐑦𐑙 𐑥𐑲 𐑖𐑱𐑝𐑾𐑯 𐑩 𐑚𐑦𐑑 𐑝 𐑩 𐑚𐑮𐑱𐑒, 𐑯 𐑣𐑨𐑝 𐑮𐑦𐑑𐑻𐑯𐑛 𐑥𐑲 𐑓𐑴𐑒𐑩𐑕 𐑑 𐑥𐑲 𐑳𐑞𐑼 𐑚𐑦𐑜 𐑣𐑪𐑚𐑦: 𐑥𐑿𐑟𐑦𐑒. 𐑞𐑴 𐑑 𐑒𐑷𐑤 𐑦𐑑 𐑩 𐑣𐑪𐑚𐑦 𐑓𐑰𐑤𐑟 𐑩 𐑚𐑦𐑑 𐑛𐑦𐑕𐑩𐑯𐑡𐑰𐑯𐑘𐑩𐑕 – 𐑲 𐑤𐑦𐑑𐑼𐑩𐑤𐑦 𐑨𐑥 𐑩 𐑐𐑮𐑩𐑓𐑧𐑖𐑩𐑯𐑩𐑤 𐑥𐑿𐑟𐑦𐑖𐑩𐑯, 𐑦𐑯 𐑞 𐑕𐑧𐑯𐑕 𐑞𐑨𐑑, 𐑢𐑲𐑤 𐑦𐑑 𐑦𐑟 𐑯𐑪𐑑 𐑥𐑲 𐑛𐑱 𐑡𐑪𐑚, 𐑲 𐑛𐑵 𐑜𐑧𐑑 𐑐𐑱𐑛 𐑑 𐑛𐑵 𐑦𐑑. 𐑲 𐑑𐑱𐑒 𐑐𐑮𐑲𐑛 𐑦𐑯 𐑥𐑲 𐑮𐑦𐑒𐑹𐑛𐑦𐑙- 𐑯 𐑐𐑮𐑩𐑛𐑳𐑒𐑖𐑩𐑯 𐑢𐑻𐑒, 𐑯 𐑑𐑮𐑲 𐑑 𐑜𐑧𐑑 𐑞 𐑚𐑧𐑕𐑑 𐑦𐑒𐑢𐑦𐑐𐑥𐑩𐑯𐑑 𐑲 𐑒𐑨𐑯 𐑩𐑓𐑹𐑛 𐑑 𐑛𐑵 𐑞 𐑡𐑪𐑚 𐑑 𐑞 𐑚𐑧𐑕𐑑 𐑝 𐑥𐑲 𐑩𐑚𐑦𐑤𐑦𐑑𐑦. 𐑞𐑦𐑕 𐑐𐑴𐑕𐑑 𐑦𐑟 𐑩𐑚𐑬𐑑 𐑢𐑳𐑯 𐑝 𐑥𐑲 𐑮𐑰𐑕𐑩𐑯𐑑 𐑯𐑿 𐑑𐑶𐑟.

𐑲 𐑣𐑨𐑛 𐑚𐑰𐑯 𐑕𐑑𐑮𐑳𐑜𐑤𐑦𐑙 𐑢𐑦𐑞 𐑮𐑧𐑒𐑩𐑯𐑕𐑲𐑤𐑦𐑙 𐑥𐑲 𐑨𐑥𐑚𐑦𐑖𐑩𐑯𐑟 𐑢𐑦𐑞 𐑥𐑲 𐑩𐑝𐑱𐑤𐑩𐑚𐑩𐑤 𐑜𐑽 𐑓 𐑩 𐑢𐑲𐑤. 𐑥𐑲 𐑢𐑻𐑒𐑣𐑹𐑕 𐑷𐑛𐑦𐑴 𐑦𐑯𐑑𐑼𐑓𐑱𐑕 𐑣𐑨𐑛 𐑓 𐑘𐑽𐑟 𐑚𐑰𐑯 𐑥𐑲 𐑑𐑮𐑳𐑕𐑑𐑦 𐑱𐑑 𐑗𐑨𐑯𐑩𐑤 ·𐑨𐑐𐑩𐑡𐑰 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88, 𐑚𐑳𐑑 𐑲 𐑣𐑨𐑛 𐑬𐑑𐑜𐑮𐑴𐑯 𐑦𐑑. 𐑲 𐑢𐑪𐑯𐑑𐑩𐑛 𐑑 𐑚𐑰 𐑱𐑚𐑩𐑤 𐑑 𐑮𐑦𐑒𐑹𐑛 𐑛𐑮𐑳𐑥𐑟 𐑿𐑟𐑦𐑙 𐑥𐑹 𐑗𐑨𐑯𐑩𐑤𐑟, 𐑯 𐑢𐑪𐑟 𐑯𐑪𐑑 𐑜𐑧𐑑𐑦𐑙 𐑞 𐑒𐑢𐑪𐑤𐑦𐑑𐑦 𐑹 𐑕𐑭𐑥𐑐𐑩𐑤 𐑮𐑱𐑑𐑕 𐑲 𐑢𐑪𐑟 𐑩𐑒𐑳𐑕𐑑𐑩𐑥𐑛 𐑑 𐑢𐑦𐑞 𐑥𐑲 24-𐑗𐑨𐑯𐑩𐑤 𐑕𐑬𐑯𐑛𐑒𐑮𐑭𐑓𐑑 ·UI24R 𐑛𐑦𐑡𐑦𐑑𐑩𐑤 𐑥𐑦𐑒𐑕𐑼 (𐑢𐑦𐑗 𐑦𐑟 𐑢𐑪𐑑 𐑲 𐑿𐑟 𐑓 𐑤𐑲𐑝 𐑖𐑴𐑟.) 𐑓 𐑩 𐑜𐑫𐑛 𐑢𐑲𐑤 𐑲 𐑢𐑪𐑟 𐑦𐑯 𐑕𐑳𐑥 𐑕𐑹𐑑 𐑝 𐑐𐑻𐑜𐑩𐑑𐑼𐑦, 𐑯𐑪𐑑 𐑢𐑦𐑤𐑦𐑙 𐑑 𐑳𐑐𐑜𐑮𐑱𐑛 𐑑 𐑞 ·𐑨𐑐𐑩𐑡𐑰 𐑕𐑦𐑥𐑓𐑩𐑯𐑦 MkII 𐑘𐑧𐑑… 𐑦𐑑 𐑢𐑪𐑟 𐑞 𐑤𐑪𐑡𐑦𐑒𐑩𐑤 𐑯𐑧𐑒𐑕𐑑 𐑕𐑑𐑧𐑐 𐑳𐑐, 𐑚𐑳𐑑 𐑲 𐑒𐑫𐑛𐑩𐑯𐑑 𐑒𐑢𐑲𐑑 𐑡𐑳𐑕𐑑𐑦𐑓𐑲 𐑞 𐑦𐑒𐑕𐑐𐑧𐑯𐑛𐑦𐑗𐑼.

𐑢𐑳𐑯 𐑝 𐑞 𐑥𐑱𐑯 𐑕𐑑𐑮𐑧𐑙𐑔𐑕 𐑝 𐑞 ·𐑨𐑐𐑩𐑡𐑰 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88 𐑣𐑨𐑛 𐑷𐑤𐑢𐑱𐑟 𐑚𐑰𐑯 𐑦𐑑𐑕 𐑩𐑥𐑱𐑟𐑦𐑙 𐑐𐑮𐑰-𐑨𐑥𐑐𐑕. 𐑯 𐑞𐑦𐑕 𐑦𐑟 𐑢𐑲 𐑳𐑐𐑜𐑮𐑱𐑛𐑦𐑙 𐑑 𐑞 ·𐑕𐑦𐑥𐑓𐑩𐑯𐑦 MkII 𐑢𐑫𐑛 𐑚𐑰 𐑕𐑴 𐑐𐑮𐑴𐑣𐑦𐑚𐑦𐑑𐑦𐑝𐑤𐑦 𐑦𐑒𐑕𐑐𐑧𐑯𐑕𐑦𐑝: 𐑞 ·𐑕𐑦𐑥𐑓𐑩𐑯𐑦 MkII 𐑛𐑳𐑟𐑩𐑯𐑑 𐑒𐑳𐑥 𐑢𐑦𐑞 𐑧𐑯𐑦 𐑐𐑮𐑰-𐑨𐑥𐑐𐑕 𐑝 𐑦𐑑𐑕 𐑴𐑯, 𐑕𐑴 𐑲 𐑢𐑫𐑛 𐑣𐑨𐑝 𐑣𐑨𐑛 𐑑 𐑖𐑧𐑤 𐑬𐑑 𐑒𐑨𐑖 𐑓 𐑑𐑵 𐑩𐑛𐑦𐑖𐑩𐑯𐑩𐑤 8 𐑗𐑨𐑯𐑩𐑤 𐑨𐑯𐑩𐑤𐑪𐑜 𐑐𐑮𐑰-𐑨𐑥𐑐𐑕 𐑑 𐑜𐑧𐑑 𐑞 𐑦𐑒𐑕𐑑𐑧𐑯𐑛𐑩𐑛 𐑒𐑩𐑐𐑨𐑕𐑦𐑑𐑦 𐑲 𐑢𐑪𐑟 𐑤𐑫𐑒𐑦𐑙 for.¹

𐑤𐑭𐑕𐑑 𐑘𐑽, ·𐑨𐑐𐑩𐑡𐑰 𐑩𐑯𐑬𐑯𐑕𐑑 𐑞𐑨𐑑 𐑞𐑱 𐑢𐑫𐑛 𐑯𐑴 𐑤𐑪𐑙𐑜𐑼 𐑕𐑩𐑐𐑹𐑑 𐑞 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88. 𐑲 𐑷𐑤𐑥𐑴𐑕𐑑 𐑐𐑫𐑤𐑛 𐑞 𐑑𐑮𐑦𐑜𐑼, 𐑑𐑧𐑥𐑐𐑑𐑩𐑛 𐑚𐑲 𐑞 𐑛𐑦𐑕𐑒𐑬𐑯𐑑𐑩𐑛 ·𐑕𐑦𐑥𐑓𐑩𐑯𐑦 MkII 𐑳𐑐𐑜𐑮𐑱𐑛 𐑞𐑱 𐑪𐑓𐑼𐑛 𐑥𐑰. 𐑚𐑳𐑑 𐑞𐑧𐑯 𐑲 𐑓𐑦𐑜𐑼𐑛 𐑬𐑑 𐑞𐑨𐑑 𐑲 𐑒𐑫𐑛 𐑨𐑒𐑑𐑵𐑤𐑦 𐑦𐑯𐑒𐑮𐑰𐑕 𐑥𐑲 𐑗𐑨𐑯𐑩𐑤 𐑒𐑬𐑯𐑑 𐑚𐑲 𐑒𐑩𐑯𐑧𐑒𐑑𐑦𐑙 𐑩 𐑕𐑧𐑒𐑩𐑯𐑛 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 𐑿𐑯𐑦𐑑. 𐑲 𐑹𐑛𐑼𐑛 𐑩 𐑕𐑧𐑒𐑩𐑯𐑛-𐑣𐑨𐑯𐑛 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 46 𐑯 𐑞 𐑯𐑧𐑕𐑦𐑕𐑼𐑦 𐑒𐑱𐑚𐑩𐑤𐑟 𐑑 𐑒𐑩𐑯𐑧𐑒𐑑 𐑞 𐑑𐑵 𐑛𐑦𐑝𐑲𐑕𐑩𐑟 𐑑 𐑰𐑗 𐑳𐑞𐑼, 𐑚𐑳𐑑 𐑲 𐑒𐑫𐑛𐑩𐑯𐑑 𐑜𐑧𐑑 𐑦𐑑 𐑑 𐑢𐑻𐑒. 𐑦𐑑 𐑑𐑻𐑯𐑛 𐑬𐑑 𐑞𐑨𐑑 𐑞𐑨𐑑 𐑑𐑧𐑞𐑼𐑛 𐑕𐑧𐑑𐑳𐑐 𐑛𐑦𐑛𐑩𐑯𐑑 𐑢𐑻𐑒 𐑪𐑯 ·𐑥𐑨𐑒𐑴𐑧𐑕 𐑑𐑭𐑣𐑴 (𐑞 𐑤𐑱𐑑𐑩𐑕𐑑 𐑯 𐑜𐑮𐑱𐑑𐑩𐑕𐑑), 𐑯 𐑝 𐑒𐑹𐑕, 𐑢𐑦𐑞 ·𐑨𐑐𐑩𐑡𐑰 𐑡𐑳𐑕𐑑 𐑣𐑨𐑝𐑦𐑙 𐑛𐑦𐑕𐑒𐑩𐑯𐑑𐑦𐑯𐑿𐑛 𐑕𐑩𐑐𐑹𐑑 𐑓 𐑞 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 𐑕𐑽𐑰𐑟, 𐑞𐑱 𐑢𐑻𐑯𐑑 𐑜𐑴𐑦𐑙 𐑑 𐑓𐑦𐑒𐑕 𐑞 𐑦𐑖𐑵.²

𐑓𐑹𐑗𐑩𐑯𐑩𐑑𐑤𐑦, 𐑲 𐑕𐑑𐑦𐑤 𐑣𐑨𐑛 𐑩𐑯 𐑴𐑤𐑛 𐑥𐑨𐑒𐑚𐑫𐑒 ·M1 𐑞𐑨𐑑 𐑢𐑪𐑟 𐑕𐑑𐑦𐑤 𐑪𐑯 𐑩𐑯 𐑴𐑤𐑛𐑼 𐑝𐑻𐑕𐑾𐑯 𐑝 𐑞 𐑪𐑐𐑼𐑱𐑑𐑦𐑙 𐑕𐑦𐑕𐑑𐑩𐑥, 𐑕𐑴 𐑲 𐑕𐑢𐑦𐑗𐑑 𐑑 𐑿𐑟𐑦𐑙 𐑦𐑑 𐑓 𐑮𐑦𐑒𐑹𐑛𐑦𐑙 𐑓 𐑩 𐑢𐑲𐑤. 𐑞 𐑕𐑧𐑑𐑳𐑐 𐑢𐑻𐑒𐑑, 𐑚𐑳𐑑 𐑦𐑑 𐑢𐑪𐑟 𐑩𐑯𐑶𐑦𐑙, 𐑓 𐑕𐑧𐑝𐑼𐑩𐑤 𐑮𐑰𐑟𐑩𐑯𐑟:

𐑞 𐑴𐑤𐑛 ·𐑥𐑨𐑒𐑚𐑫𐑒 𐑢𐑪𐑟 𐑑𐑵 𐑕𐑤𐑴 𐑑 𐑢𐑻𐑒 𐑪𐑯 𐑤𐑸𐑡 𐑐𐑮𐑪𐑡𐑧𐑒𐑑𐑕;
𐑐𐑤𐑳𐑜𐑦𐑯 𐑥𐑨𐑯𐑦𐑡𐑥𐑩𐑯𐑑 𐑢𐑪𐑟 𐑩 𐑐𐑱𐑯 (𐑢𐑲 𐑸 ·𐑢𐑱𐑝𐑟 𐑤𐑲𐑕𐑩𐑯𐑕𐑩𐑟 𐑕𐑴 𐑩𐑯𐑶𐑦𐑙?);
𐑞 𐑑𐑧𐑞𐑼𐑛 ·𐑧𐑤𐑦𐑥𐑩𐑯𐑑𐑕 𐑑𐑫𐑒 𐑳𐑐 𐑚𐑴𐑔 𐑔𐑳𐑯𐑛𐑼𐑚𐑴𐑤𐑑/·USB-C 𐑐𐑹𐑑𐑕 𐑪𐑯 𐑞 ·𐑤𐑨𐑐𐑑𐑪𐑐, 𐑕𐑴 𐑲 𐑒𐑫𐑛𐑩𐑯𐑑 𐑒𐑩𐑯𐑧𐑒𐑑 𐑧𐑯𐑦 𐑳𐑞𐑼 𐑛𐑦𐑝𐑲𐑕𐑩𐑟, 𐑤𐑧𐑑 𐑩𐑤𐑴𐑯 𐑒𐑩𐑯𐑧𐑒𐑑 𐑦𐑑 𐑑 𐑩 𐑐𐑬𐑼 𐑕𐑩𐑐𐑤𐑲 𐑢𐑲𐑤 𐑮𐑦𐑒𐑹𐑛𐑦𐑙.

𐑕𐑳𐑥 𐑑𐑲𐑥 𐑐𐑭𐑕𐑑 𐑚𐑦𐑓𐑹 𐑲 𐑓𐑲𐑯𐑤𐑦 𐑓𐑦𐑜𐑼𐑛 𐑬𐑑 𐑞𐑨𐑑 𐑲 𐑒𐑫𐑛 𐑕𐑦𐑥𐑐𐑤𐑦 𐑦𐑒𐑕𐑑𐑧𐑯𐑛 𐑞 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88 𐑢𐑦𐑞 𐑩 𐑕𐑦𐑙𐑜𐑩𐑤 8 𐑗𐑨𐑯𐑩𐑤 𐑐𐑮𐑰𐑥𐑐 – 𐑯 𐑨𐑑 𐑩 𐑓𐑮𐑨𐑒𐑖𐑩𐑯 𐑝 𐑞 𐑒𐑪𐑕𐑑. 𐑞 𐑝𐑧𐑮𐑦 𐑕𐑱𐑥 𐑪𐑐𐑑𐑦𐑒𐑩𐑤 𐑐𐑹𐑑𐑕 𐑞𐑨𐑑 𐑲 𐑢𐑪𐑟 𐑿𐑟𐑦𐑙 𐑑 𐑑𐑧𐑞𐑼 𐑞 𐑑𐑵 ·𐑧𐑤𐑦𐑥𐑩𐑯𐑑 𐑕𐑽𐑰𐑟 𐑛𐑦𐑝𐑲𐑕𐑩𐑟 𐑑𐑩𐑜𐑧𐑞𐑼 𐑒𐑫𐑛 𐑚𐑰 𐑿𐑟𐑛 𐑢𐑦𐑞 𐑧𐑯𐑦 𐑳𐑞𐑼 𐑗𐑨𐑯𐑩𐑤 𐑕𐑹𐑕 𐑢𐑦𐑞 ·SMUX 𐑬𐑑𐑐𐑫𐑑𐑕. 𐑦𐑑 𐑑𐑻𐑯𐑛 𐑬𐑑 𐑞𐑨𐑑 𐑞𐑺 𐑸 𐑩 𐑯𐑳𐑥𐑚𐑼 𐑝 𐑮𐑾𐑤𐑦 𐑜𐑫𐑛 8 𐑗𐑨𐑯𐑩𐑤 𐑐𐑮𐑰-𐑨𐑥𐑐𐑕 𐑬𐑑 𐑞𐑺 𐑢𐑦𐑞 𐑕𐑦𐑥𐑦𐑤𐑼𐑤𐑦 𐑕𐑐𐑧𐑒𐑑 ·A-D 𐑒𐑩𐑯𐑝𐑻𐑑𐑼𐑟, 𐑩𐑥𐑳𐑙 𐑳𐑞𐑼𐑟: 𐑞 ·SSL ·𐑐𐑘𐑫𐑼 𐑛𐑮𐑲𐑝 𐑪𐑒𐑑𐑴 8, 𐑥𐑨𐑯𐑿𐑓𐑨𐑒𐑗𐑼𐑛 𐑚𐑲 ·𐑕𐑪𐑤𐑦𐑛 𐑕𐑑𐑱𐑑 𐑤𐑪𐑡𐑦𐑒 – 𐑝 ·SSL 𐑒𐑪𐑯𐑕𐑴𐑤 𐑓𐑱𐑥.

*𐑞 𐑯𐑿 ·SSL ·𐑐𐑘𐑫𐑼 𐑛𐑮𐑲𐑝 𐑪𐑒𐑑𐑴 8 𐑐𐑮𐑰-𐑨𐑥𐑐, 𐑿𐑯𐑲𐑑𐑩𐑛 𐑢𐑦𐑞 𐑥𐑲* *·𐑨𐑐𐑩𐑡𐑰 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88, 𐑯 𐑩 ·𐑚𐑤𐑨𐑒 𐑤𐑲𐑩𐑯 𐑐𐑨𐑗𐑚𐑱 𐑲 𐑚𐑷𐑑 𐑓 𐑞 𐑡𐑪𐑚.*

𐑞 ·SSL ·𐑐𐑘𐑫𐑼 𐑛𐑮𐑲𐑝 𐑪𐑒𐑑𐑴 8 𐑦𐑟 𐑩 𐑐𐑮𐑦𐑑𐑦 𐑤𐑳𐑝𐑤𐑦 𐑚𐑦𐑑 𐑝 𐑜𐑽. ·𐑐𐑘𐑫𐑼𐑛𐑮𐑲𐑝^™ 𐑐𐑮𐑰-𐑨𐑥𐑐 𐑕𐑻𐑒𐑦𐑑𐑮𐑦 𐑑𐑱𐑒𐑩𐑯 𐑓𐑮𐑪𐑥 𐑞 ·SSL 𐑪𐑮𐑦𐑡𐑦𐑯 𐑢𐑦𐑞 𐑩𐑯 EIN (𐑦𐑒𐑢𐑦𐑝𐑤𐑩𐑯𐑑 𐑦𐑯𐑐𐑫𐑑 𐑯𐑶𐑟) 𐑝 -130 dB – 𐑡𐑳𐑕𐑑 𐑕𐑤𐑲𐑑𐑤𐑦 𐑕𐑼𐑐𐑭𐑕𐑦𐑙 𐑞 -129 dB EIN 𐑝 𐑞 ·𐑧𐑤𐑦𐑥𐑩𐑯𐑑 𐑕𐑽𐑰𐑟. 𐑜𐑹𐑡𐑩𐑕 𐑗𐑨𐑯𐑩𐑤 𐑕𐑨𐑗𐑼𐑱𐑖𐑩𐑯 𐑒𐑨𐑯 𐑚𐑰 𐑩𐑗𐑰𐑝𐑛 𐑢𐑦𐑞 𐑒𐑤𐑨𐑕𐑦𐑒 𐑜𐑱𐑯 + 𐑑𐑮𐑦𐑥 𐑑𐑿𐑯𐑦𐑙, 𐑢𐑦𐑞 𐑔𐑮𐑰 𐑛𐑦𐑓𐑼𐑩𐑯𐑑 𐑐𐑮𐑰𐑕𐑧𐑑𐑕 (·𐑒𐑤𐑰𐑯, ·𐑒𐑤𐑨𐑕𐑦𐑒 𐑛𐑮𐑲𐑝, ·𐑱𐑕𐑦𐑥𐑧𐑑𐑮𐑦𐑒 𐑛𐑮𐑲𐑝). 𐑿 𐑒𐑨𐑯 𐑒𐑳𐑤𐑼 𐑔𐑦𐑙𐑟 𐑓𐑻𐑞𐑼 𐑚𐑲 𐑗𐑱𐑯𐑡𐑦𐑙 𐑞 𐑥𐑲𐑒 𐑦𐑥𐑐𐑰𐑛𐑩𐑯𐑕, 𐑯 𐑞 𐑔𐑦𐑙 𐑒𐑨𐑯 𐑷𐑤𐑕𐑴 𐑚𐑰 𐑿𐑟𐑛 𐑢𐑦𐑞 HI-Z 𐑦𐑯𐑕𐑑𐑮𐑩𐑥𐑧𐑯𐑑𐑕.

𐑞 ·SSL ·𐑐𐑘𐑫𐑼𐑛𐑮𐑲𐑝 𐑪𐑒𐑑𐑴 8 𐑐𐑮𐑰-𐑨𐑥𐑐 𐑦𐑟 𐑯𐑪𐑑 𐑡𐑳𐑕𐑑 𐑩 𐑑𐑮𐑩𐑛𐑦𐑖𐑩𐑯𐑩𐑤 𐑱𐑑-𐑗𐑨𐑯𐑩𐑤 𐑨𐑯𐑩𐑤𐑪𐑜 𐑐𐑮𐑰-𐑨𐑥𐑐𐑤𐑦𐑓𐑲𐑼; 𐑦𐑑 𐑦𐑟 𐑩 𐑥𐑪𐑛𐑼𐑯, 𐑣𐑲𐑚𐑮𐑦𐑛 𐑚𐑦𐑑 𐑝 𐑣𐑸𐑛𐑢𐑺 𐑞𐑨𐑑 𐑒𐑫𐑛 𐑓𐑳𐑙𐑒𐑖𐑩𐑯 𐑨𐑟 𐑩 𐑕𐑑𐑨𐑯𐑛-𐑩𐑤𐑴𐑯 𐑕𐑬𐑯𐑛 𐑦𐑯𐑑𐑼𐑓𐑱𐑕 𐑦𐑯 𐑦𐑑𐑕 𐑴𐑯 𐑮𐑲𐑑, 𐑛𐑿 𐑑 ·𐑕𐑑𐑱𐑑-𐑝-𐑞-𐑸𐑑 A/D 𐑒𐑩𐑯𐑝𐑻𐑑𐑼𐑟, 𐑢𐑦𐑞 𐑚𐑦𐑑𐑮𐑱𐑑𐑕 𐑳𐑐 𐑑 192kHz. 𐑹 𐑿 𐑒𐑨𐑯 𐑕𐑧𐑯𐑛 𐑳𐑐 𐑑 8 𐑗𐑨𐑯𐑩𐑤𐑟 𐑝 88.2- 𐑹 96kHz 24 𐑚𐑦𐑑 𐑷𐑛𐑦𐑴 𐑴𐑝𐑼 ·SMUX 𐑑 𐑩𐑯 𐑦𐑒𐑕𐑑𐑻𐑯𐑩𐑤 𐑷𐑛𐑦𐑴 𐑦𐑯𐑑𐑼𐑓𐑱𐑕. 𐑹 𐑿 𐑒𐑨𐑯 𐑜𐑴 𐑓𐑫𐑤𐑦 𐑨𐑯𐑩𐑤𐑪𐑜, 𐑹 𐑗𐑱𐑯 𐑦𐑯 𐑨𐑯𐑩𐑤𐑪𐑜 𐑦𐑯𐑕𐑻𐑑𐑕… 𐑳𐑐 𐑑 𐑿.

𐑞 ·SSL/·𐑨𐑐𐑩𐑡𐑰 𐑮𐑦𐑜 𐑦𐑯 𐑕𐑦𐑗𐑵 𐑦𐑯 𐑥𐑲 𐑤𐑲𐑝 𐑮𐑵𐑥 (𐑒𐑪𐑓, 𐑒𐑪𐑓… 𐑚𐑱𐑕𐑥𐑩𐑯𐑑). 𐑲𐑥 𐑑𐑮𐑨𐑒𐑦𐑙 𐑛𐑮𐑳𐑥𐑟 𐑪𐑯 14 𐑗𐑨𐑯𐑩𐑤𐑟 𐑯𐑬𐑩𐑛𐑱*𐑟, 𐑢𐑦𐑞 𐑑𐑵 𐑗𐑨𐑯𐑩𐑤𐑟 𐑓𐑮𐑰 𐑓 𐑕𐑒𐑮𐑨𐑗 𐑝𐑴𐑒𐑩𐑤𐑟 𐑯 𐑜𐑦𐑑𐑸.*

𐑞𐑦𐑕 𐑦𐑟 𐑚𐑺𐑤𐑦 𐑕𐑒𐑮𐑨𐑗𐑦𐑙 𐑞 𐑕𐑻𐑓𐑦𐑕 𐑝 𐑞 𐑥𐑩𐑖𐑰𐑯𐑟 𐑒𐑱𐑐𐑩𐑚𐑦𐑤𐑦𐑑𐑦𐑟, 𐑚𐑳𐑑 𐑓 𐑥𐑲 𐑿𐑕-𐑒𐑱𐑕, 𐑦𐑑 𐑨𐑛𐑟 8 𐑥𐑹 𐑗𐑨𐑯𐑩𐑤𐑟 𐑑 𐑥𐑲 𐑕𐑧𐑑𐑳𐑐 𐑢𐑦𐑞 𐑞 𐑕𐑱𐑥 𐑕𐑭𐑥𐑐𐑤𐑦𐑙 𐑮𐑱𐑑𐑕, 𐑕𐑦𐑜𐑯𐑩𐑤-𐑑-𐑯𐑶𐑟 𐑮𐑱𐑖𐑦𐑴, 𐑯 𐑤𐑱𐑑𐑩𐑯𐑕𐑦 𐑨𐑟 𐑞 ·𐑨𐑐𐑩𐑡𐑰 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88. 𐑕𐑴 𐑲 𐑹𐑛𐑼𐑛 𐑢𐑳𐑯 𐑓𐑮𐑪𐑥 ·𐑕𐑢𐑰𐑑𐑢𐑷𐑑𐑼! 𐑯 𐑲𐑝 𐑚𐑰𐑯 𐑤𐑳𐑝𐑦𐑙 𐑦𐑑 – 𐑓𐑲𐑯𐑤𐑦 𐑑𐑮𐑨𐑒𐑦𐑙 𐑛𐑮𐑳𐑥𐑟 𐑿𐑟𐑦𐑙 14 𐑗𐑨𐑯𐑩𐑤𐑟. 𐑲 𐑣𐑨𐑝 𐑯𐑳𐑔𐑦𐑙 𐑚𐑳𐑑 𐑜𐑫𐑛 𐑔𐑦𐑙𐑟 𐑑 𐑕𐑱 𐑩𐑚𐑬𐑑 𐑦𐑑 𐑕𐑴 𐑓𐑸 – 𐑒𐑭𐑯𐑑 𐑮𐑧𐑒𐑩𐑥𐑧𐑯𐑛 𐑦𐑑 𐑕𐑑𐑮𐑪𐑙𐑤𐑦 𐑦𐑯𐑳𐑓!

𐑿 𐑥𐑱 𐑚𐑰 𐑢𐑳𐑯𐑛𐑼𐑦𐑙 𐑢𐑪𐑑 𐑲 𐑛𐑦𐑛 𐑢𐑦𐑞 𐑞 ∘𐑧𐑤𐑦𐑥𐑩𐑯𐑑 46? 𐑢𐑧𐑤 – 𐑦𐑑𐑕 𐑷𐑤𐑥𐑴𐑕𐑑 𐑨𐑟 𐑞𐑴 𐑲 𐑣𐑨𐑛 𐑐𐑤𐑨𐑯𐑛 𐑦𐑑 𐑞𐑦𐑕 𐑢𐑱 𐑷𐑤 𐑩𐑤𐑪𐑙: 𐑦𐑑 𐑯𐑬 𐑣𐑨𐑟 𐑩 𐑐𐑻𐑥𐑩𐑯𐑩𐑯𐑑 𐑣𐑴𐑥 𐑨𐑑 𐑥𐑲 𐑥𐑦𐑒𐑕𐑦𐑙 𐑛𐑧𐑕𐑒 / 𐑒𐑪𐑯𐑕𐑴𐑤 – 𐑢𐑲𐑤 𐑞 𐑯𐑿 ∘𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88 + ·SSL 𐑮𐑦𐑜 𐑯𐑬 𐑕𐑑𐑱𐑟 𐑦𐑯 𐑞 𐑤𐑲𐑝-𐑮𐑵𐑥, 𐑢𐑺 𐑦𐑑 𐑚𐑦𐑤𐑪𐑙𐑟.³ 𐑲 𐑯𐑬 𐑨𐑥 𐑐𐑮𐑦𐑑𐑦 𐑒𐑩𐑯𐑑𐑧𐑯𐑑 𐑢𐑦𐑞 𐑥𐑲 𐑮𐑦𐑒𐑹𐑛𐑦𐑙 𐑕𐑧𐑑𐑳𐑐, 𐑯 𐑢𐑦𐑤 𐑯𐑴 𐑛𐑬𐑑 𐑚𐑰 𐑱𐑚𐑩𐑤 𐑑 𐑒𐑰𐑐 𐑪𐑯 𐑐𐑫𐑖𐑦𐑙 𐑪𐑓 𐑩𐑯 𐑳𐑐𐑜𐑮𐑱𐑛 𐑓 𐑩𐑯𐑳𐑞𐑼 𐑒𐑳𐑐𐑩𐑤 𐑝 𐑘𐑽𐑟 – 𐑨𐑑 𐑤𐑰𐑕𐑑.⁴

– 𐑡𐑹𐑴

𐑓𐑫𐑑𐑯𐑴𐑑𐑕

𐑢𐑧𐑯 𐑿 𐑤𐑫𐑒 𐑨𐑑 𐑦𐑑 𐑞𐑦𐑕 𐑢𐑱, 𐑞 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 𐑕𐑽𐑰𐑟 𐑢𐑪𐑟 𐑑𐑵 𐑥𐑳𐑗 𐑝𐑨𐑤𐑿 𐑓 𐑞 𐑐𐑮𐑲𐑕 ·𐑨𐑐𐑩𐑡𐑰 𐑗𐑸𐑡𐑛 𐑓 𐑦𐑑. 𐑱𐑑 𐑗𐑨𐑯𐑩𐑤𐑟 𐑝 𐑣𐑲 𐑒𐑢𐑪𐑤𐑦𐑑𐑦 𐑐𐑮𐑰-𐑨𐑥𐑐𐑕, 𐑦𐑯𐑛𐑳𐑕𐑑𐑮𐑦 𐑤𐑰𐑛𐑦𐑙 A/D 𐑒𐑩𐑯𐑝𐑻𐑑𐑼𐑟 𐑢𐑦𐑞 𐑦𐑯𐑒𐑮𐑧𐑛𐑩𐑚𐑩𐑤 𐑕𐑦𐑜𐑯𐑩𐑤 𐑑 𐑯𐑶𐑟 𐑮𐑱𐑖𐑦𐑴, 𐑯 𐑚𐑳𐑯𐑛𐑩𐑤𐑛 ·𐑨𐑐𐑩𐑡𐑰 ·FX 𐑐𐑤𐑳𐑜𐑦𐑯𐑟. 𐑯 𐑦𐑑𐑕 𐑕𐑑𐑦𐑤 𐑜𐑴𐑦𐑙 𐑕𐑑𐑮𐑪𐑙! ↩︎
𐑚𐑳𐑑 𐑑 𐑞𐑺 𐑨𐑚𐑕𐑩𐑤𐑵𐑑 𐑒𐑮𐑧𐑛𐑦𐑑, 𐑞𐑺 𐑕𐑩𐑐𐑹𐑑 𐑑𐑰𐑥 𐑢𐑻 𐑩𐑥𐑱𐑟𐑦𐑙, 𐑯 𐑣𐑧𐑤𐑐𐑑 𐑥𐑰 𐑑𐑮𐑳𐑚𐑩𐑤 𐑖𐑵𐑑 𐑞 𐑦𐑖𐑵, 𐑦𐑯 𐑕𐑐𐑲𐑑 𐑝 𐑞𐑺 “𐑯𐑴 𐑤𐑪𐑙𐑜𐑼 𐑕𐑩𐑐𐑹𐑑𐑦𐑙” 𐑞 ∘𐑧𐑤𐑦𐑥𐑩𐑯𐑑 𐑕𐑽𐑰𐑟. ↩︎
𐑘𐑧𐑑 𐑩𐑯𐑳𐑞𐑼 𐑦𐑒𐑕𐑐𐑧𐑯𐑕 𐑕𐑱𐑝𐑛 𐑓𐑮𐑪𐑥 𐑞 ·𐑕𐑦𐑥𐑓𐑩𐑯𐑦 ·MKII 𐑮𐑵𐑑: 𐑲 𐑢𐑪𐑟 𐑕𐑐𐑺𐑛 𐑓𐑮𐑪𐑥 𐑣𐑨𐑝𐑦𐑙 𐑑 𐑛𐑮𐑷 𐑕𐑯𐑱𐑒𐑕 𐑚𐑦𐑑𐑢𐑰𐑯 𐑞 𐑒𐑩𐑯𐑑𐑮𐑴𐑤 𐑮𐑵𐑥 𐑯 𐑞 𐑤𐑲𐑝 𐑮𐑵𐑥, 𐑯 𐑢𐑪𐑟 𐑱𐑚𐑩𐑤 𐑑 𐑐𐑫𐑖 𐑪𐑓 𐑐𐑻𐑗𐑩𐑕𐑦𐑙 𐑞 𐑮𐑧𐑒𐑢𐑦𐑟𐑦𐑑 𐑐𐑨𐑗𐑚𐑱𐑟 𐑯𐑯𐑯. 𐑲𐑥 𐑦𐑯𐑝𐑺𐑦𐑩𐑚𐑤𐑦 𐑢𐑳𐑯 𐑝 𐑞 𐑐𐑼𐑓𐑹𐑥𐑼𐑟 𐑦𐑯 𐑞 𐑤𐑲𐑝 𐑮𐑵𐑥 𐑧𐑯𐑦𐑢𐑱, 𐑕𐑴 𐑤𐑲𐑝 𐑥𐑪𐑯𐑦𐑑𐑼𐑦𐑙 𐑓𐑮𐑪𐑥 𐑞 𐑒𐑪𐑯𐑕𐑴𐑤 𐑦𐑟 𐑯𐑪𐑑 𐑩 𐑤𐑳𐑒𐑖𐑼𐑦 𐑲 𐑯𐑰𐑛 𐑨𐑑 𐑞 𐑥𐑴𐑥𐑩𐑯𐑑, 𐑧𐑯𐑦𐑢𐑱. ↩︎
𐑲𐑝 𐑕𐑧𐑛 𐑦𐑑 𐑚𐑦𐑓𐑹, 𐑯 𐑲𐑤 𐑕𐑱 𐑦𐑑 𐑩𐑜𐑱𐑯: 𐑞 ·𐑨𐑐𐑩𐑡𐑰 𐑧𐑤𐑦𐑥𐑩𐑯𐑑 88 𐑦𐑟 𐑞 𐑚𐑧𐑕𐑑 𐑥𐑿𐑟𐑦𐑒 𐑣𐑸𐑛𐑢𐑺 𐑦𐑯𐑝𐑧𐑕𐑑𐑥𐑩𐑯𐑑 𐑲𐑝 𐑧𐑝𐑼 𐑥𐑱𐑛. 𐑲 𐑚𐑷𐑑 𐑦𐑑 𐑩𐑚𐑬𐑑 10 𐑘𐑽𐑟 𐑩𐑜𐑴 𐑯𐑬, 𐑯 𐑦𐑑 𐑕𐑑𐑦𐑤 𐑦𐑟 𐑜𐑴𐑦𐑙 𐑕𐑑𐑮𐑪𐑙. ↩︎

*I love Sweetwater – I get all my music gear from them. One of the many perks is the little bag of sweets they always send you with your purchase.*

I’m giving my Shavian a bit of a break, and have returned my focus to my other big hobby: music. Though to call it a hobby feels a bit disingenuous – I literally am a professional musician, in the sense that, while it is not my day job, I do get paid to do it. I take pride in my recording- and production work, and try to get the best equipment I can afford to do the job to the best of my ability. This post is about one of my recent new toys.

I had been struggling with reconciling my ambitions with my available gear for a while. My workhorse audio interface had for years been my trusty eight channel Apogee Element 88, but I had outgrown it. I wanted to be able to record drums using more channels, and was not getting the quality or sample rates I was accustomed to with my 24-channel SoundCraft UI24R digital mixer (which is what I use for live shows.) For a good while I was in some sort of purgatory, not willing to upgrade to the Apogee Symphony MkII yet… it was the logical next step up, but I couldn’t quite justify the expenditure.

One of the main strengths of the Apogee Element 88 had always been its amazing pre-amps. And this is why upgrading to the Symphony MkII would be so prohibitively expensive: the Symphony MkII doesn’t come with any pre-amps of its own, so I would have had to shell out cash for two additional 8 channel analog pre-amps to get the extended capacity I was looking for.¹

Last year, Apogee announced that they would no longer support the Element 88. I almost pulled the trigger, tempted by the discounted Symphony MkII upgrade they offered me. But then I figured out that I could actually increase my channel count by connecting a second Element unit. I ordered a second-hand Element 46 and the necessary cables to connect the two devices to each other, but I couldn’t get it to work. It turned out that that tethered setup didn’t work on MacOs Tahoe (the latest and greatest), and of course, with Apogee just having discontinued support for the Element Series, they weren’t going to fix the issue.²

Fortunately, I still had an old macBook M1 that was still on an older version of the operating system, so I switched to using it for recording for a while. The setup worked, but it was annoying, for several reasons:

The old macBook was too slow to work on large projects;
Plugin management was a pain (why are Waves licences so annoying?);
The tethered Elements took up both Thunderbolt/USB-C ports on the laptop, so I couldn’t connect any other devices, let alone connect it to a power supply while recording.

Some time passed before I finally figured out that I could simply extend the Element 88 with a single 8 channel preamp – and at a fraction of the cost. The very same optical ports that I was using to tether the two Element Series devices together could be used with any other channel source with ADAT/SMUX outputs. It turned out that there are a number of really good 8 channel pre-amps out there with similarly spec’ed A-D converters, among others: the SSL Pure Drive Octo 8, manufactured by Solid State Logic – of SSL Console fame.

*The new SSL Pure Drive Octo 8 pre-amp, united with my* *Apogee Element 88, and a Black Lion patchbay I bought for the job.*

The SSL Pure Drive Octo 8 is a pretty lovely bit of gear. PureDrive^™ pre-amp circuitry taken from the SSL Origin with an EIN (Equivalent Input Noise) of -130 dB – just slightly surpassing the -129 dB EIN of the Element Series. Gorgeous channel saturation can be achieved with classic gain + trim tuning, with three different presets (Clean, Classic Drive, Asymmetric Drive). You can colour things further by changing the mic impedance, and the thing can also be used with High-Z instruments.

The SSL PureDrive Octo 8 preamp is not just a traditional eight-channel analog pre-amplifier; it is a modern, hybrid bit of hardware that could function as a stand-alone sound interface in it’s own right, due to state-of-the-art A/D converters, with bitrates up to 192kHz. Or you can send up to 8 channels of 88.2- or 96kHz 24 bit audio over SMUX to an external Audio Interface. Or you can go fully analog, or chain in analog inserts… Up to you.

*The SSL/Apogee rig in situ in my live room (cough, cough… basement). I’m tracking drums on 14 channels* nowadays, with two channels free for scratch vocals and guitar.

This is barely scratching the surface of the machine’s capabilities, but for my use-case, it adds 8 more channels to my setup with the same sampling rates, signal-to-noise ratio, and latency as the Apogee Element 88. So I ordered one from Sweetwater! And I’ve been loving it – finally tracking drums using 14 channels. I have nothing but good things to say about it so far – can’t recommend it strongly enough!

You may be wondering what I did with the Element 46? Well – it’s almost as though I had planned it this way all along: it now has a permanent home at my mixing desk / console – while the new Element 88 + SSL rig now stays in the live-room, where it belongs.³ I now am pretty content with my recording setup, and will no doubt be able to keep on pushing off an upgrade for another couple of years – at least.⁴

– Joro

Footnotes

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Posted

March 7, 2026

Music, 𐑖𐑱𐑝𐑾𐑯

jorobot

Tags:

Drums, Recording

𐑯𐑿 𐑜𐑽 𐑛𐑱

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