Presonus Quantum 26x32 Thunderbolt 2 Audio Interface Review

The PreSonus Quantum offers spectacularly low latency and a simplified way of working. Is information technology the best Thunderbolt interface you can buy?

If you're buying a multi-aqueduct audio interface for recording to a Mac or Windows PC, it'southward not like shooting fish in a barrel to know who to wave your credit card at. There is a peachy number of products on the market, and to the untrained center, it can be hard to differentiate them. Convention seems to dictate that mid-priced interfaces come in a 1U rack format, with eight mic preamps and a similar quotient of line-level outputs, plus a couple of headphone sockets and perhaps some extras such equally monitor control.

PreSonus'southward new Quantum adheres firmly to this particular orthodoxy. Elsewhere, however, it makes a decisive break with convention. For every bit long as I can remember, audio interfaces with more a couple of inputs and outputs have included digital mixing and routing facilities that allow input signals to exist auditioned at the outputs without passing through the figurer'southward input and output buffers. It'southward a manner of dodging the outcome of latency that works, up to a bespeak; but information technology complicates the whole recording process, and is no utilize if you want to hear soft synths or plug-ins in real fourth dimension.

Also often, in my opinion, manufacturers have trumpeted the features of these built-in digital mixers in the promise of obscuring the reason for their existence, which is that said manufacturers oasis't been able to code efficient drivers. The last PreSonus interface I reviewed in Audio On Sound was a example in point: the Studio 192 offered good sound quality and a comprehensive feature set, merely if you didn't desire to use its much-hyped internal mixer and clunky UC Surface control software, it was a struggle to become the round-trip latency depression enough for real-time input monitoring.

Then it'south to PreSonus's great credit that, with the Quantum, they have not but acknowledged the elephant in the room: they've ushered it into the corridor, handed it the pearl-handled revolver and locked the door backside it. So confident are PreSonus that the Breakthrough's drivers will deliver negligible latency that they have binned the internal mixer altogether. In other words, if y'all want to hear what's coming into whatsoever of the Quantum'due south inputs, you tin can only do so via your recording software.

Breakthrough Theory

Whereas the Studio 192 is a USB3 interface, the Quantum is PreSonus'southward first Thunderbolt device. Autonomously from the different computer ports and colour schemes, though, the ii are well-nigh identical in terms of features. There are 8 of PreSonus's digitally controlled 10-MAX preamps, which are configured either in software or using a front-panel encoder. These are presented on combi XLR-jack sockets: plug a jack in instead of an XLR, and your line-level indicate bypasses the preamp, enabling information technology to attain the A-D converter with no loss of allegiance. The line inputs can exist configured to operate at +4dBu or -10dBV, and inputs 1/2 can also exist switched to deed every bit high-impedance sockets for plugging in guitars. On the output side, more quarter-inch jacks make available a pair of main monitor outputs, 8 additional line-level outputs and two headphone outputs, all of which are independently addressable in software.

Digital I/O is also plentiful. As well as stereo coaxial S/PDIF and BNC word clock I/O, the Quantum boasts two ADAT optical inputs and outputs, furnishing up to xvi additional channels at base sample rates. It likewise inherits the Studio 192'south LED ladder meters, monitor command and talkback features, of which more than presently. And, dissimilar the 192, the Quantum has five-pivot DIN sockets for MIDI In and Out, which is a welcome addition. On the downward side, however, the Quantum doesn't have an internal ability transformer. Instead, similar the 192, it uses an external laptop-fashion power supply, which locks securely into place.

A glance at their corresponding specifications reveals that, although the Quantum and the Studio 192 boast an identical complement of audio I/O, there are differences below the skin. The Studio 192 already offered better-than-decent sound performance, but the Quantum uses fifty-fifty more than highly-specified converters and thus improves on this in almost respects. For instance, the 192's line and monitor outputs take a dynamic range of 112dB, but the Quantum raises this to 118dB, and offers the aforementioned range on the line ins, up from the 192'south 114dB. Quoted dynamic range for the A-D and D-A converters is 120dB to the 192'southward 118dB. (On the other hand, the mic preamp blueprint is the same, and so improvements in the quoted EIN figure reflect changes in the test weather condition rather than the preamp circuit itself.) The number of situations where y'all'll observe a divergence in practice is probably small, but it means the Quantum is playing on a level field with other Thunderbolt interfaces like the Focusrite Clarett range.

Like the Claretts and most of its other competitors, the Breakthrough does non come with a Thunderbolt cablevision. I know these cables aren't cheap, but why do manufacturers retrieve it's acceptable to ship a product costing 4 figures in such a way that information technology is basically a doorstop until yous've paid a visit to the Apple tree Store? Unlike the Claretts, though, the Breakthrough sports two Thunderbolt 2 ports rather than but one, and with the help of a few more Thunderbolt cables, this should allow upward to iv units to be daisy-chained, for a total of 104 inputs and 128 outputs at base sample rates.

Now UC It...

The UC software's launcher window is where you can gear up the Breakthrough'south sample rate and clock source. Although there's no internal mixer to control, it's nonetheless necessary to install software before the Quantum can exist used. This includes the Thunderbolt driver, of course, forth with a touch-friendly utility chosen Universal Command. This initially greets yous with a 'launcher' window that offers to update the Breakthrough'southward firmware, if needed, select sample rate (on Windows) and choose a clock source. Once this is washed, yous can click on or touch the picture of the Quantum to enter the primary UC panel. (The launcher remains accessible in the background.)

Compared with the UC Surface utility that is used to configure the Studio 192, the Quantum's UC utility is blissfully elementary and intuitive. That's partly because there's a lot less for it to practice, but it's besides, I think, downwards to better layout and pattern. Though information technology shares some of the same grey-themed visual cues, it's much more pleasing on the middle, and I never institute myself having to chase around for some feature that ought to accept been somewhere but wasn't! The one exception to this concerns clock source choice. For some reason, it'southward but possible to choose a clock source from the launcher window, and although the Breakthrough's power push turns a reassuring blueish when a valid clock is received, there'southward nada in the main UC panel to bear witness what clock source is selected, nor any means of changing it. Maybe this could be added in an update.

In exercise, it's perfectly possible to use the Quantum without needing to visit the UC window very oftentimes, which is exactly as it should be. One of the main irritations with digital mixers congenital into audio interfaces is that you're constantly having to tab between your DAW and the mixer command panel, which slows everything downward, duplicates attempt and risks confusion. Since the Quantum doesn't incorporate such a mixer, its UC utility by and large reflects features that can also be set from the unit's front end panel, such as preamp gain. Nevertheless, there are likewise various options that can but be configured in software. For instance, although the headphone sockets each accept their own stereo output paths and D-A converters, convenience dictates that quite ofttimes y'all'll want them to mirror the main output, and PreSonus take thoughtfully provided the option to permit this.

As on the Studio 192, the level of the primary outputs is governed by a large front-panel knob. This applies attenuation in the analogue domain rather than digitally, which helps preserve sound quality at low levels, and means it should still be operational in the event of some digital cataclysm spewing racket into your speakers. Within UC, information technology's besides possible to bring whatever or all of the other output pairs under the command of this attenuator; then if, for instance, you lot desire to use iv of the line outputs to connect the subsidiary speakers in a surround arrangement, y'all can have global book control over all six v.1 channels. Mute, dim and mono fold-down are also attainable from UC too equally from the front panel, but there is no provision for alternating speaker switching (which, personally, I'd detect more useful than the dim control).

The absence of an internal mixer means that the built-in talkback mic is, in issue, only another input to your DAW. The front-panel Talkback button switches it on and off — pressing and releasing the button latches it on, or you tin hold it down and have it disengage when you let go once again — simply routing and distribution needs to be handled within the DAW. This is fine with me, and makes it easy to slate the talkback mic to a recorded rails if you lot wish.

UC's unproblematic simply effective functionality is rounded out by a couple of nice bonus features. In that location'due south a real-fourth dimension spectrum analyser, which can be set up to inspect whatever input or output pair (and, as I failed to spot at kickoff, there's as well a phase meter in the bottom corner!). And, as on the Studio 192, if you lot choose to expand the Breakthrough with PreSonus'south ain Digimax DP88 preamps, their proceeds settings are as well attainable from UC. Meanwhile, if you want to shop the Quantum's own preamp settings within your DAW projects, you can add it as a MIDI peripheral and adjust the proceeds and phantom power settings using Continuous Controller letters, which is pretty bang-up. In PreSonus'southward own Studio 1 DAW these gain settings prove upwardly straight in the mixer [and are saved with the Vocal projection - Ed], as practice the Quantum's main monitor control functions, then you nigh never demand to open UC.

...At present U Don't

Ideally, a written report on the experience of working with an audio interface should be pretty short. What you'd hope to read is that it was plugged in, recording software recognised it without fuss, and that audio came into and went out of the appropriate holes without noticeable latency, sounding slap-up. In the real globe, alas, it seldom works out like that, because a built-in mixer that'southward supposed to make things easier ends up making everything far more complicated than information technology needs to be.

So I'm very happy to report that working with the PreSonus Quantum actually is that like shooting fish in a barrel. Want to have four different cue mixes and route talkback to each of them at a dissimilar level? Fine: employ aux sends to prepare it up in the DAW project you lot're recording into. At that place's no need to acquire a separate mixing utility, no duplication of endeavor, no endless tabbing between applications searching for the rogue channel that's muted or soloed in the 'other' mixer. Want to hear your sound input processed with plug-in furnishings in existent time? Get right ahead and use your favourite VST, AU or AAX plug-ins, just as you would at mixdown. Sound quality is exemplary, digitally controlled mic preamps are inherently a Skilful Thing in my view, and the built-in talkback mic and mono button are both very handy features not found on all of the Quantum's competitors. All this is made possible by low-latency performance that not but matches that of rival Thunderbolt interfaces merely beats them hands downward (see 'Latency? What latency?' box).

To be fair to PreSonus's rivals, I call back it's arguable that a similar level of simplicity can be accomplished without completely binning the built-in mixer. For instance, MOTU's 1248 offers extremely comprehensive mixing facilities, simply allows them to exist bypassed completely if you want to do everything within your DAW, while the Focusrite Control utility that you become with the Claretts provides very simple cue mixing if you need it and stays well out of the mode if you don't. And the lack of any in-built mixer means that the Quantum can't exist used equally a stand-solitary A-D converter without the estimator attached. However, what PreSonus'south decision ways is that you lot don't end up leaning on these crutches through sheer force of habit. I don't know about you, but I'm then accustomed to relying on born cue mixers that I tend to use them only because they are in that location. That temptation is non available on the Quantum, and the user experience is all the ameliorate for information technology.

Thundering Typhoons

Given the Quantum'southward launch toll, you could exist forgiven for comparing it with the Studio 192 and asking why we are, in a sense, paying more for less. Subsequently all the 192 has almost the same complement of I/O equally well every bit a sophisticated digital mixer! Both are 24-bit/192kHz devices. However, this disparity in price betwixt Thunderbolt and USB interfaces with like features is hardly unique to PreSonus, and no dubiety reflects the boosted toll of developing drivers and chipsets for a new protocol. To my mind, the Quantum's remarkable low-latency performance and vastly improved user experience are more than worth the extra cost, and of course there'south the improved sound specs to cistron in also.

The Quantum also compares well with competing Thunderbolt products. It'south more expensive than the Zoom TAC-8 or the Focusrite Clarett 8Pre, just the additional outlay gets you digitally controlled preamps, two banks of ADAT ports, congenital-in talkback and the ability to daisy-chain upward to four interfaces. Further upwardly the scale, the Quantum is a piffling more affordable than the MOTU 1248 and Apogee Element 88. Each of these has distinctive highlights, such as the 1248's AVB expansion and the Element'southward very superior mic preamps, but neither outguns the Quantum on overall features. In short, if its selection of I/O meets your needs, there is absolutely no reason not to buy this interface.

PreSonus have made a bold move past ditching the built-in mixer to focus on low-latency operation, and in my view, it's exactly the right 1. They've accomplished depression-latency performance that, with the exception of PCIe cards, is currently unrivalled past whatever interface I know of, then if you take a computer recent enough to accept Thunderbolt ii ports, y'all'll surely have no need of monitoring workarounds. In that location tin be no meliorate way to respond to the criticism that was levelled at the Studio 192 than by producing an interface that inherits all of that product'south many practiced qualities and does abroad with its faults at one stroke. Bravo.

Latency? What Latency?

At least half a dozen Thunderbolt interfaces have at present crossed my path, and then far, there has been little to choose between them in terms of depression-latency performance. On Mac Bone, all offering buffer sizes down to 32 samples, which, at base sample rates, usually translates into a existent-earth round-trip latency effigy of nearly 4 milliseconds, give or take half a millisecond or and so. I was fully expecting the Quantum to offer the same sort of performance — only information technology doesn't. It's way better.

The lowest bachelor buffer size is still 32 samples, only when I chose this setting at 44.1kHz, Reaper reported that the input latency was 0.9ms and the output latency 1.0ms, giving a reported round-trip latency of merely 1.9ms. I tested this figure by looping an output back to an input, and constitute that a re-recorded audio file lined up perfectly with the original, confirming that it is authentic. Even raising the buffer size to 64 samples yields a circular-trip latency of just iii.4ms, which is better than any other Thunderbolt interface I've tested can manage at 32 samples! In brusk, so, the Breakthrough doesn't merely equal its Thunderbolt rivals under Mac OS: information technology significantly improves on them. What's more, I formed the distinct impression that it was also more resource-efficient than many rivals, allowing me to run larger and more complex Pro Tools sessions earlier the dreaded CPU overload warnings appeared.

Not having a Thunderbolt-equipped Windows automobile to test it with, I wasn't able to confirm whether this superb performance is matched on that platform, but as a Mac user, I take my hat off to PreSonus's engineers.

DC Coupled Outputs

PreSonus chose to launch the Quantum at this year's Superbooth event in Federal republic of germany. Why? The eight line outputs and two main outs are all DC coupled, which means that they can provide analogue triggers and control voltage (CV) signals to external analogue equipment, such as modular synths. This feature can be used with any DAW that supports it.

Pros

• Stunning low-latency performance that fully justifies PreSonus's determination non to build in a digital mixer.
• Not having to deal with an internal mixer makes it extremely uncomplicated to utilize.
• Comprehensive feature set that includes useful talkback and mono buttons.
• Digitally controlled mic preamps, and line inputs that bypass them.
• Impressive specifications and adept subjective sound quality.
• Up to iv Quantums tin be combined in a single system.

Cons

• No Thunderbolt cable supplied.
• Information technology would be dainty to have alternate speaker switching as part of the monitor control features.

Summary

PreSonus'due south Quantum combines unrivalled low-latency performance and ease of employ with fine audio quality and open-ended expansion potential. In a nutshell, it'southward really, actually skilful!

information

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Source: https://www.soundonsound.com/reviews/presonus-quantum

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