Antelope Audio Zen Q Synergy Core and Antelope Audio Edge Duo: review and test

The professional Antelope Audio Zen Q USB interface with Synergy Core technology and the Edge Duo condenser microphone with hardware modeling of legendary microphones

Grigory Liadov

Musicians and recording engineers know Antelope Audio for its studio equipment. The Zen range began in 2014 with the Zen Studio interface, which was warmly received by professionals. Based on the popular rackmount Orion 32, it was smaller and more affordable. Even then, Zen Studio offered high-quality microphone preamps, flexible routing, and proprietary hardware processing previously found only in expensive top Antelope interfaces.

In 2019, Antelope introduced Synergy Core. It combines powerful real-time parallel FPGA processing with ARM DSP computing for complex algorithms. Each approach uses separate chips and contributes its strengths. The name Synergy comes from the Greek idea of working together. The Synergy Core hardware effects collection models many classic studio devices. Effects can be used in real time without monitoring delay during recording, broadcasting, or DAW post-production. New plugins are added regularly. They interest vintage-processing specialists and ordinary users alike because they are simple and effective. The library contains more than 80 plugins and continues to grow.

The Zen Synergy Core series currently has three models, differing mainly in input and output count. The most advanced is the Zen Tour Synergy Core. It has four microphone inputs, four guitar inputs, ten line outputs, two headphone outputs, two reamp outputs, ADAT, and S/PDIF. A touchscreen provides the most advanced controls in the range. Two FPGAs and four DSPs handle hardware processing.

The simplest and most affordable model is the Zen Go Synergy Core. It has two microphone/guitar inputs, one line output, and two headphone outputs. Its only digital connection is S/PDIF. One FPGA and one DSP provide processing.

The Zen Q Synergy Core sits between the Zen Go and Zen Tour. It has two headphone outputs, two microphone/guitar inputs, two extra guitar inputs, and two separate stereo outputs. Along with S/PDIF, it has an ADAT input. One FPGA and two DSPs handle effects.

All Zen devices use first-class preamps and high-quality converters. The manufacturer's specifications are attractive throughout the range. Zen Synergy Core interfaces support Windows and Mac OS X. Depending on version, they connect to the computer through USB or Thunderbolt.

We will explore Antelope's modern interface features with the Zen Q Synergy Core, paired with the same manufacturer's advanced Edge Duo microphone.

Antelope Audio Zen Q Synergy Core specifications

• Analog inputs:
• 2 microphone/line/guitar inputs on XLR/TRS combo connectors
• 2 line/guitar inputs on TRS connectors
• Analog outputs:
• Line output on balanced TRS connectors
• Monitor output on balanced TRS connectors
• 2 headphone outputs on TRS connectors
• Digital inputs:
• S/PDIF
• ADAT (up to 8 channels at 44.1/48 kHz)
• Digital outputs:
• S/PDIF
• Microphone inputs (XLR):
• Equivalent input noise (EIN): -128 dBA
• Dynamic range: -121 dBA
• THD: -106 dB
• Maximum level: +20 dBu
• Gain: 65 dB
• +48 V phantom power
• DAC specifications:
• Dynamic range: 127 dBA
• THD+N: -115 dB
• ADC specifications:
• Dynamic range: 122 dBA
• THD+N: -116 dB
• Interface:
  • Zen Q Thunderbolt: Thunderbolt 3/Zen Q USB: USB-C
  • Sample rates: 44.1/48/88.2/96/176.4/192 kHz
• Other specifications:
  • Dimensions: 198 × 137 × 57.5 mm
  • Weight: 800 g

All Zen interfaces share a desktop design. The slightly angled top makes the display easy to see. The housing is all metal, with side ventilation openings.

The color display shows a mixer with meters for every input except ADAT and for the first headphone output. Unfortunately, brightness cannot be adjusted. Readability drops noticeably in strong light. A brightness control would be very useful.

Hardware control is simple. GAIN cycles through physical inputs for adjustment and mode selection. HP/MON cycles through physical outputs. The large digital rotary control adjusts the selected channel in 1 dB steps, with the current value shown prominently. Pressing the control changes function according to the channel: it mutes an output or switches an input between line, microphone, and guitar modes.

The lower button with the company logo returns to the mixer display. Hold the buttons to access system settings. All other functions, including routing and hardware effects, are in the software control panel.

This model effectively has 4 independent analog inputs and 8 independent analog outputs. The Q probably refers to quad, or four.

Connections are on the front and rear. Guitar/line inputs and two headphone outputs face forward. Importantly, the headphone outputs are independent and can receive different mixes. This is normally found only in advanced, expensive studio equipment, and not in every such model.

The rear has two microphone/line/guitar inputs on XLR/TRS combo connectors. TRS sockets provide the main line output and an extra monitor output that duplicates the first headphone signal. S/PDIF input and output and an ADAT input are also here.

The interface connects through USB Type-C and uses USB bus power only. A special Y cable with two USB Type-A plugs helps provide enough current from a laptop. The Thunderbolt version supports Thunderbolt 3 only.

Let us look inside the Zen Q Synergy Core. There are some welcome surprises.

The four-channel ES9842 Pro ADC offers a very high dynamic range of 122 dB and THD+N of 116 dB. Antelope uses excellent high-performance chips even in the affordable Zen series.

Two flagship-series CS43198 two-channel DACs provide a dynamic range of 130 dB and THD+N of 115 dB. OPA1692A stages follow, with ultra-low distortion of -127 dB and noise of only 4.2 nV/Hz^1/2. We are pleased to see electronics of this quality.

A four-channel PCM4104 DAC serves the headphone outputs, with a dynamic range of 118 dB and THD+N of 100 dB. The 4565 current buffers provide a fairly high 4 Vrms output. We would like CS43198 converters for headphones too, but the product has a limited budget. Users seeking an entirely uncompromised solution can consider higher-end Antelope models or connect a separate headphone amplifier to the line output. The Zen Q's own capabilities are excellent, even if further improvement is always possible.

Microphone and guitar inputs use TI OPA1692A/1642A operational amplifiers and THAT 5263 dual-channel analog level controls with digital control. Gain adjusts from 0 to 65 dB in 1 dB steps. This suits both condenser and dynamic microphones.

The design uses an Atmel ATSAM4SD32C FPGA and two ARM-based NXP MIMXRT1052 DSPs at 600 MHz for mixing and effects. These form the Synergy Core hardware. The manufacturer also highlights its digital clock circuit based on 64-bit AFC technology, optimized for audio equipment.

The internal electronics look excellent. Zen Synergy Core interfaces are therefore attractive beyond their hardware effects. They can handle conversion and audio work in a good studio. Their compact size, strong housings, and bus power also suit travel.

The driver panel selects buffer sizes from 8 to 2048 samples. Safe Mode adds a USB buffer, increasing latency only slightly while significantly improving stability.

Round-trip latency, input plus output, measured a very good 5.3 ms at 44 kHz with a 64-sample buffer. Playback and recording had no buffer-related problems.

Recording and playback support up to 192 kHz. There are plenty of ASIO channels for ADAT and flexible routing between the interface mixer and the DAW.

RMAA testing

We measured only the output. The Zen Q has no direct line input: the signal always passes through a preamp. A normal loopback test would therefore not fully reveal the model's objective output performance.

Detailed 24-bit/44 kHz input measurements in the RMAA report

The application rated every parameter Excellent. Actual signal-to-noise performance is above 120 dB, but a more accurate result requires high-quality measurement equipment. Overall, our measurements support the stated specifications and show a high level of engineering.

The attractive control panel handles effects and routing. It looks like a studio mixer and is consistent across Zen models. Presets save and recall settings, with a choice of which parameters to include. The mixer window also scales to the display and working conditions. It was comfortable on our 4K monitor.

A 16-channel mixer provides detailed channel monitoring, level changes, separate headphone and line-output submixes, routing, and hardware-effects chains.

The Zen Q DSP supports effects on each of the first six channels. Mixer channels are freely assigned rather than fixed to physical inputs. The first six can represent line inputs, digital inputs, or two microphone inputs plus operating-system playback, as in our screenshot. This may look complex initially, but is understandable even without reading the manual.

Each channel supports up to eight simultaneous effects. More are unlikely to be needed, but a signal can be routed to another effects channel if necessary. The device includes 37 effects, from channel processing such as EQ, compression, gates, and expanders to analog modeling, including guitar amplifiers and combos. Other plugins can be bought on the manufacturer's website Antelope Audio.

The full library contains almost a hundred interesting effects. Most model the analog behavior of legendary or rare studio processors. We had access to every plugin during testing. Our listening tests confirmed advanced algorithms that produce high-quality results and add saturation where needed. The plugins are pleasant and convenient to use. Their graphics recreate the knobs and meters of real rackmount equipment.

Along with insert effects, the mixer has a reverb bus available to every channel. It costs nothing extra, but is not as good as the best software reverbs. Its main use is performer comfort during voice recording rather than final mixing.

Another distinctive Zen Synergy Core feature is microphone modeling, available exclusively with Antelope Audio microphones. After license activation, the panel gains an extra menu for settings and modeled microphone selection.

The manufacturer offers a full microphone range with modeling. We tested it with the Edge Duo.

Antelope Audio Edge Duo specifications

Our Edge Duo has eighteen models of legendary large-diaphragm studio microphones. For copyright reasons, city names replace the manufacturers' names: Berlin for Neumann, Vienna for AKG, and so on. A picture of the original microphone helps identify each model. There are no individual modeling controls; select a microphone and use it. The algorithms probably alter the Antelope microphone's frequency and phase responses to approach the reference tone. Modeling clearly changes the sound, giving some models more lower midrange, others a brighter midrange or softer treble.

This is a distinctive Antelope feature for engineers accustomed to choosing specific microphones for a performer's voice. A model can be a starting point for further processing or creative experiments. Several tracks can be recorded simultaneously: dry signal, modeling only, modeling with effects, or effects without modeling. This greatly expands creative options and also supports broadcasts and live streams with a finished, high-quality sound.

Now let us turn to the Edge Duo. This large-diaphragm studio condenser microphone is intended for vocals and acoustic instruments. It uses a dual-diaphragm capsule with separate recording from each diaphragm. A conventional microphone selects polar patterns with a switch. Here, the control panel combines the two signals to create the required result. This is useful for several sources and for capturing room or surrounding-space characteristics.

The supplied Y-XLR cable connects the Edge Duo to two microphone inputs. Blue marks the front diaphragm connection, red the rear. Their assignment can be swapped in the control panel without reconnecting cables. Two interface channels are needed only for dual-diaphragm mode. Otherwise, the blue connection alone works like a conventional single-diaphragm condenser with a fixed cardioid pattern.

The microphone has a traditional studio design: a solid cylindrical metal housing and a metal capsule grille. There are no buttons or switches. The interface panel provides all control. In two-channel mode, users can invert polarity and continuously vary the pattern from figure-eight through cardioid to omnidirectional.

The Edge Duo uses 34 mm diaphragms, as expected in a large-diaphragm studio microphone. A rubber base isolates the capsule from housing noise and vibration. Hot glue also secures wire joints against unwanted resonances. No extra screen is provided beyond the metal grille. We recommend storing the microphone in its case after use to keep dust and dirt off the diaphragms. A pop filter is essential for voice recording.

The supplied metal shock mount has a cord-suspended basket. A threaded nut holds the microphone securely, allowing upside-down use. The pop filter mounts directly to the shock mount. Two articulated joints provide limited distance adjustment. Its double fabric screen controls breath effectively.

Inside are modern circuit boards with surface-mount components. The electronics match branded microphones of this class and look much better than budget designs.

The Edge Duo accessory package is excellent. It includes a convenient carrying case, shock mount, pop filter, and cable. Shaped inserts hold everything securely.

We tested the Antelope interface and microphone in realistic voice recording, processing, and production work. We carefully compared recording and playback quality with competing studio devices. Several professional headphones and ADAM Audio powered monitors were used. A Neumann TLM102 served as the microphone reference.

Antelope's sound quality left a very positive impression. Performance is genuinely high and competes for a leading position in this price range. That may sound promotional, but it reflects our experience. The sound differs from competitors only in subtle details and character. It is suitable for commercial studios of any size, not just individual artists. Preamps, conversion, and playback match top studio interfaces. Expensive microphones can benefit from the Zen Q, and it also suits higher-end studio monitors.

The Zen Q Synergy Core is optimized for small and medium setups with two microphones, two guitars, and a monitor pair. The 8-channel ADAT input allows expansion. Two independent headphone outputs conveniently serve two artists or a musician and engineer. Users needing Word Clock synchronization or many more inputs and outputs should consider higher-end Antelope interfaces. The Zen Q handles its own tasks well and is highly competitive. Gain is sufficient for condenser and dynamic microphones. The headphone output is good and fairly powerful. We wanted more studio headroom with high-impedance Beyerdynamic headphones while recording with a large overload margin. We found a useful workaround: raising gain in a hardware plugin solved the problem.

The Zen Q caused no stability complaints on our main computer: an 8-core 5 GHz processor, enough memory, Windows 11, the latest driver, and Cubase 12. Most online criticism concerns the earlier Zen Go. Regular firmware and driver updates show continued software development. On a properly optimized operating system, the device currently works well despite its complexity and heavy USB traffic from dozens of channels. The engineers' work deserves respect.

Our 4K video shows a real example of Antelope's hardware processing in use:

The Edge Duo matches the Neumann for sound quality, which answers 90% of the questions about its standard. Antelope has its own character, with slightly less bass and different tonal details. Users who prefer a particular classic Neumann sound can use modeling to emphasize the desired range immediately. Modeling is optional. Studio professionals can also shape the recording with EQ and other plugins to achieve the required tone and mix density. We especially liked recording dry and processed voice at the same time. This protects against unsuitable effect settings and allows later changes, while the performer hears a sound close to the finished track.

Conclusions

Our tests showed that Antelope Audio devices are valuable even without hardware processing. Excellent electronics provide professional sound. Synergy Core real-time effects add significant value and expand uses, including streams and broadcasts. The interface's strengths are compact size and high functionality. The microphone's excellent accessory package allows immediate use.

Our main criticisms are the lack of display brightness adjustment and the long time needed to load the panel and effects. We found the display too dim. Learning all the functions may also take time and patience.

Overall, we rate the Zen Q Synergy Core and Edge Duo very positively. They bring fresh competition to an industry with established names such as AVID and Universal Audio. Antelope can compete in sound quality and features, often offering an interesting alternative. We recommend taking a close look. We experienced no serious stability problems. The manufacturer keeps releasing firmware and drivers for current operating systems, while the effects library regularly gains new processors.

Note. This is an adapted machine translation into English. It follows the “In simple terms” approach. Read the original article at https://prosound.ixbt.com/microphones/antelope-edge.shtml.