The B2 Bomber ADC from BURL Audio is the most significant piece of audio gear in your studio, and you don't even own it yet. You've spent a fortune on great mics, great mic pres, and a kick ass DAW, but unfortunately you are missing one key component; an ADC with an audio path worthy of your recordings.
Open up your best mic pre and look inside. You will see high quality components like tubes, large transformers and high quality capacitors. Open up your ADC and you will find cheap 10 cent capacitors and run-of-the-mill 25 cent op-amps, even when you've spent a lot of money on your interface. Most DAW hardware interfaces are designed for interconnectivity with little attention to the analog audio path, or even the conversion, let alone the tone.
The B2 Bomber is designed for great specifications, but more importantly, it is designed to give you the ultimate in recording tone. For years now people have been trying to figure out why their digital recordings don't have the warmth and feel of analog tape recordings. We try using tube mic pres and great compressors, but there is still something missing. There is still that blurriness, that graininess and lack of depth that comes with digital recordings.
BURL Audio has solved this problem by designing an analog audio path that is complimentary to your mic pre and to the analog to digital process. By using a revolutionary hybrid circuit with a proprietary transformer, the BURL AUDIO BX1, and a discrete class-A, zero feedback, zero capacitor signal path, we have achieved dynamic and tonal balance.
Using a B2 Bomber in the studio is like taking the governor off of your recordings. And, the B2 is not just for tracking. Mix down and mastering were the main focus of the B2's layout and design. With 30 segment peak amplitude and RMS metering, the B2 lets you know exactly how hot you are running your signal which is critical for mastering. The attenuator settings on the front easily allow you to change input headroom giving you the ability to hit the front end hotter or colder depending on what the material calls for. And don't be afraid to run the B2 Bomber hot, it only sounds better. Couple that with an extremely low jitter clock source, and you have the B2 Bomber ADC, the most significant piece of gear in your studio.
"I was zooming some youtube vids and came across Rich, (Mr. Burl if your nasty). I had an impression right away from his flippant, strange presence. I thought, wow, this guy, in a way, does not give a shi$. He is probably really onto something. I can trust him. Forward 2 weeks, a few e-mails, and Fed-Ex drops off a Burl DAC yesterday. I jumped right in to a major comparison between it and my Mytek 8x192. I have just sold my Lavry DA-10 for monitoring, because I have arrived at a point where I'm sick of total seperation in listening. I want to hear the instruments glued together in a unified picture and not start off mixing by trying to achieve this. I've been on a big kick to restore the joy of analog ease to my work environment. This is a big step. In my trial of the Burl DAC yesterday, I have found it guilty as charged. How was it charged? Just listen to Rich speak on his youtube vid. He talks about analog, about voicing in which the cymbals aren't bashing in your face. This is exacly what I experienced. You can trust this guy. How he describes it is how I'm experiencing it. Because the highs have this nice smooth slope, the rest of the picture is rendered wide and beautiful. The Rhodes piano thru huge reverb on my main test-track had this aura and width that made me just want to listen and enjoy it. The lowend is huge, open but so damn tight! Switching back to the Mytek, the cymbals came a-bashing back on top and that pretty much wrecks the joy from there on down. Checking out track 3 on Beck's 'Seachange' showed me further how analog true this dac is. The snare drum was very different between the two converters. Mytek showing a brighter/thinner element off, Burl showing it off like it was coming back off the origional 2-inch machine. I thought, this is how they mixed it in the studio. You can hear the tape compression, you can hear they printed that bitch hard. And the snappy sound of the Mytek is replaced with a gutteral pound. I think there is a bit of confusion over the term 'reference', people thinking that means 'for monitoring duties'. Though I was using the Burl for 'referencing', my main thought right now is this; how could I not have this on my main analog insert? I use alot of outboard gear and go for the most coloration possible. I have no fear. I'm over the argument that AD/DA should be neutral. I disagree. Although, truthfully, I'm not doing Celine Dion type music, so... But seriously, I don't think this translates the way people have built up in their heads and been sold on by the 'digital powers that be' for the last 15 years. 'Mr. Burl' has created a timeless companion of life here. It's got an attitude like my Marantz 2235b receiver. It says, 'I am going to present you with pleasure'.
Bob Ebeling, Revolution Studios, Virginia, USA
* We charge a 4 day week, and a 12 day month. Hires can also be extended if required.