Antelope Audio is debuting their Goliath HD  — its brand new ThunderboltTM/USB3.0/HDX Port/MADI pro audio interface with ZERØ-latency FPGA Engine and AFC Clocking Technology at Musikmesse 2017 this year.

The Antelope Audio Goliath HD interface features 64 channels of I/O and upgrades, including new adaptable Accusonic mic preamps. The Goliath comes on the heels of Antelope's announcement at NAMM 2017 covering their Orion32 HD that has started shipping.

Both units boast best-in-class connectivity flexibility and pristine conversion while bringing Antelope Audio’s approach to audio processing with its comprehensive suite of hardware-based FPGA (Field Programmable Gate Array) effects — providing hardware models of a selection of vintage effects around with real-time performance in both Pro Tools HD and Pro tools Native DAW systems.

Antelope Audio CEO Igor Levin told us...

With the launch of Goliath HD, even the most sophisticated studios can access the market-leading features and innovations that only Antelope Audio interfaces can provide. Goliath HD, which works seamlessly in Pro Tools environments, is an uncompromising studio tool that improves overall sound quality while vastly expanding overall functionality.

The Goliath HD is packed with a range of connectivity options allowing it to interface digitally with both Mac and PC platforms via Thunderbolt or USB 3.0. It also delivers dual MADI connections, compatible with MADI to Dante Bridge products, permitting users to access all audio streams from anywhere within their Dante-enabled facility.

For Pro Tools HD users, Antelope Audio’s proprietary HDX Delay Compensation technology allows any analogue or digital input to arrive at the timeline with sample accuracy. Users can even have a Pro Tools HD and a Native DAW setup simultaneously interface with Goliath HD.

With 64 channels of I/O comfortably accommodated within a 2U rack device with monitor and level indicators alongside a responsive touchscreen. The Goliath HD also has 16 of Antelope Audio’s all-new Accusonic mic preamps with individual push-and-turn-style volume controls, as well as the realtime processing capabilities of the company’s FPGA hardware and allowing accurate hardware-powered circuitry to complement any microphone selection — with or without any additional outboard gear.

Then you can control the Goliath HD using iOS and Android apps enabling users to remote adjust those mic preamps and output volumes. The Goliath HD desktop application allows you to control of input and output routing, as well as sub-mixes and effects processing. Thanks to Antelope Audio’s recently released Session Presets application, all of that functionality — including specific FPGA effects and HDX compensation settings — is instantaneously recallable and shareable, so this makes Goliath HD an interesting partner for Pro Tools HD-based studios with multiple rooms or artists working in several environments. Either way, users can simply dial in a particular session and access it at any time or location with the click of a mouse (or trackpad).

The Goliath HD also has several specialised inputs and outputs that do away with necessarily needing excessive amounts of external equipment, including four front panel-positioned guitar DI inputs (G1 through to G4), two transformer-based re-amp outputs (R1 and R2), an inbuilt talkback mic, and two headphone outs (HP1 and HP2), plus a pair of rear-mounted analogue inserts.

The Goliath HD has an abundance of clock signal distribution connectivity with AES/EBU, MADI, ADAT, S/PDIF, and BNC connectors (for loop sync or standard word clock usage).