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The thing that stunned me the most about this system is its ability to reproduce the subtle nuances and colours of each instrument.

The dynamics and harmonics of the piano to the sighs and subtle nuances of Gino’s voice were all reproduced perfectly. This test was so convincing that we immediately purchased the whole fantastic system. We will be doing all our concerts in DXD from now onwards.

I was looking for a high-quality, compact, converter and headphone amp for mobile mixing. The Anubis beat the competition and added an abundance of extra features which have become indispensable. Great preamps and touch screen which you can adapt to your own requirements. There is nothing I've seen on the market with this feature set and quality.

I still cannot believe the sound quality improvement in the audio control room, all due to the fine microphone preamps and converters in Hapi/Horus. These are the highest quality I've experienced.

We were absolutely amazed by the sound we heard from Horus. Compared with other systems we have used the dynamic reproduction was so detailed. It was free of any harmonic distortion and the extremely low noise floor was very noticeable on the pianissimo sections.

Hapi is closer to the source than any other converter I have used. It is truly excellent.

Horus is the most technologically astounding piece of equipment I have ever encountered in my engineering career. I am absolutely blown away by its power and sonics.

Thanks so much for this superb machine.

All installed and up and running. Am I crazy or is it more than just the chipsets that's different? Are the filters redesigned? I feel, especially in the top and bottom octaves that everything feels tighter and more defined, soundstage feels more definite and precise, it's a lot easier to pick out and separate low level detail...phantom center feels so solid now, it's effortless to separate kick from bass now. I'll have to live with them for a while, but I just recalled a mix, exact same settings, and it sounds noticeably better. I honestly wasn't expecting to hear all that much, but it's a significant improvement. Had my assistant set up a blind A/B for me and I picked out the new ones versus the previous generation prints every time. They sound amazing.

We have enjoyed a consistent presence at various recent Olympic Games with Pyramix for the big ceremonies and now Horus and Ovation being used in vital situations. It is a nice reward for the hard work of my engineering team to see our products being used at such high profile events.

It works and it sounds really, really good. A converter should be transparent and the Horus truly disappears in our signal path :-)

On this session, recording a very exclusive Del Jesu violin with a great player, we did some tests with some pre-amps. Horus again clearly won. The difference was so big that the musician and the producer could not believe that the only difference was the converter we were using.

Horus is awesome now it works in DSD.

We are truly pleased with the amount of headroom available. The audio fidelity from the Horus converters is really amazing as well.

The sonic quality of Merging Technologies' "Quad DSD" is impossible to fully summarize. It reveals enhanced signal information not as mere "data" but clearly rendered with relaxed musical clarity that approaches explicit analog delicacy.

When we tried Horus along with another bunch of top name converters, we realised it was actually murdering everything else!

Just hearing a few tracks(...) It's stunning. I mean it's shockingly... different... I mean mindblowingly shockingly different!

Anubis Music Mission is fantastic !
The amazing Merging sound, easily expandable I/O, plus an extremely flexible and intuitive expandable mixer. The Mission has everything I need to mix FOH, broadcast, and monitors for “throw and go” gigs in a stand alone compact form. The highest quality mic pres and converters, great EQ and Dynamics, and multiple busses. A must have for my gig case.

The Anubis and its Music Mission is more then just an Audio interface. It's a complete portable mixer that allows me to rehearse and perform without needing to carry extra gear.
Latency wise on a mobile setups its direct mixer is simply unheard of, a live saver with zero latency audible.

Pyramix is a powerful system with some unique features that are of great benefit to our archival work here. The background recorder feature, in particular, has enabled us to streamline simultaneous ingest setups down to a single record system that can record from multiple independent sources, allowing us to playback, edit, and output files as they’re being recorded. Upgrading to the MassCore configurations has brought an unprecedented confidence in the stability of our capture systems, even when combining high sample rates with high track count multitrack material. Thanks to the superb Horus and Hapi RAVENNA converters’ seamless compatibility with 384kHz and DSD recording, we are preserving the EMI Canada music archives with the best digital quality current technology allows.

The great thing about Horus is that it doesn’t sound at all. I am used to my old converters being transparent but Horus is just more open and this is borne out by the measurements which are sensational.

With a good recording, I never use any EQ or dynamic processing at all. Editing is an important tool. It makes it possible to combine the highest level of energy and details into an intense performance. To do that you need to use a sonically transparent workstation. For the past decade, we’ve worked with Merging Technologies on their Pyramix system.

The first rule of mastering is 'do no harm', and with a system as transparent as Pyramix this is easily achieved.

Congratulations! The headphone output of the Anubis is probably the best I’ve ever heard :-)

With amazing audio quality in the studio that transfers to live and streaming scenarios, thru or bypassing a DAW whilst still using its FX; what kind of magic is this? Ultra-low latency mixing gives unbeatable timing for singers and musicians; this very portable box is totally transforming my performances with the ability to take my studio sound set up straight to the stage. This is the magic of Anubis

NEP the Netherlands uses multiple Merging products including the Anubis, Anubis SPS, Hapi and the MacOS AES67 driver on its Centralized Production platform. The choice for these products was mainly made on the basis of quality and functionality, whereas the Anubis SPS is currently a unique device of its kind. Advantages of the Anubis SPS are the audio quality, size, compatibility and ST2110-7, which make it a device that can be readily deployed to meet the high-quality standards for broadcast.

Recording to Direct Stream Digital has always been a must for us to deliver the most revealing and accurate sound. Taking DSD from 2.8 MHz to 11.2 MHz doesn't just step it up to the next level, it catapults it!

Pyramix is essential to every part of our workflow. Being able to preserve high samplerates, even up to the mastering stage, is such a huge benefit to us.

Btw, Recording 57ch@192 w LA Phil, 3 Horus units. Spectacular. Cannot praise enough. THANK YOU for your incredible work.

Now that I experienced, with the Pyramix Masscore, RAVENNA and Horus combination, how beautiful, transparent and dynamic digital audio in high resolution can sound, my strategy changed from adding compensation to controlled processing.

With amazing audio quality in the studio that transfers to live and streaming scenarios, thru or bypassing a DAW whilst still using its FX; what kind of magic is this? Ultra-low latency mixing gives unbeatable timing for singers and musicians; this very portable box is totally transforming my performances with the ability to take my studio sound set up straight to the stage. This is the magic of Anubis

NEP the Netherlands uses multiple Merging products including the Anubis, Anubis SPS, Hapi and the MacOS AES67 driver on its Centralized Production platform. The choice for these products was mainly made on the basis of quality and functionality, whereas the Anubis SPS is currently a unique device of its kind. Advantages of the Anubis SPS are the audio quality, size, compatibility and ST2110-7, which make it a device that can be readily deployed to meet the high-quality standards for broadcast.

I was looking for a high-quality, compact, converter and headphone amp for mobile mixing. The Anubis beat the competition and added an abundance of extra features which have become indispensable. Great preamps and touch screen which you can adapt to your own requirements. There is nothing I've seen on the market with this feature set and quality.

Congratulations! The headphone output of the Anubis is probably the best I’ve ever heard :-)

The Anubis and its Music Mission is more then just an Audio interface. It's a complete portable mixer that allows me to rehearse and perform without needing to carry extra gear.
Latency wise on a mobile setups its direct mixer is simply unheard of, a live saver with zero latency audible.

Anubis Music Mission is fantastic !
The amazing Merging sound, easily expandable I/O, plus an extremely flexible and intuitive expandable mixer. The Mission has everything I need to mix FOH, broadcast, and monitors for “throw and go” gigs in a stand alone compact form. The highest quality mic pres and converters, great EQ and Dynamics, and multiple busses. A must have for my gig case.

Horus is the most technologically astounding piece of equipment I have ever encountered in my engineering career. I am absolutely blown away by its power and sonics.

Btw, Recording 57ch@192 w LA Phil, 3 Horus units. Spectacular. Cannot praise enough. THANK YOU for your incredible work.

Horus is awesome now it works in DSD.

It works and it sounds really, really good. A converter should be transparent and the Horus truly disappears in our signal path :-)

Horus immediately impressed me with the build quality and ease of integration with my DAW. The routing, the control, plus the on-board I/O just make a stunning package which is equally at home in my studio or on the road. It’s a perfect partner for my Pro Tools system, but it all wouldn’t matter if it didn’t sound right. No question, this is the very best front-end I’ve used and it will be a part of many, many projects to come!

We were absolutely amazed by the sound we heard from Horus. Compared with other systems we have used the dynamic reproduction was so detailed. It was free of any harmonic distortion and the extremely low noise floor was very noticeable on the pianissimo sections.

I still cannot believe the sound quality improvement in the audio control room, all due to the fine microphone preamps and converters in Hapi/Horus. These are the highest quality I've experienced.

We are truly pleased with the amount of headroom available. The audio fidelity from the Horus converters is really amazing as well.

The great thing about Horus is that it doesn’t sound at all. I am used to my old converters being transparent but Horus is just more open and this is borne out by the measurements which are sensational.

Now that I experienced, with the Pyramix Masscore, RAVENNA and Horus combination, how beautiful, transparent and dynamic digital audio in high resolution can sound, my strategy changed from adding compensation to controlled processing.

Pyramix is a powerful system with some unique features that are of great benefit to our archival work here. The background recorder feature, in particular, has enabled us to streamline simultaneous ingest setups down to a single record system that can record from multiple independent sources, allowing us to playback, edit, and output files as they’re being recorded. Upgrading to the MassCore configurations has brought an unprecedented confidence in the stability of our capture systems, even when combining high sample rates with high track count multitrack material. Thanks to the superb Horus and Hapi RAVENNA converters’ seamless compatibility with 384kHz and DSD recording, we are preserving the EMI Canada music archives with the best digital quality current technology allows.

When we tried Horus along with another bunch of top name converters, we realised it was actually murdering everything else!

On this session, recording a very exclusive Del Jesu violin with a great player, we did some tests with some pre-amps. Horus again clearly won. The difference was so big that the musician and the producer could not believe that the only difference was the converter we were using.

Just hearing a few tracks(...) It's stunning. I mean it's shockingly... different... I mean mindblowingly shockingly different!

We have enjoyed a consistent presence at various recent Olympic Games with Pyramix for the big ceremonies and now Horus and Ovation being used in vital situations. It is a nice reward for the hard work of my engineering team to see our products being used at such high profile events.

I still cannot believe the sound quality improvement in the audio control room, all due to the fine microphone preamps and converters in Hapi/Horus. These are the highest quality I've experienced.

Hapi is closer to the source than any other converter I have used. It is truly excellent.

Pyramix is a powerful system with some unique features that are of great benefit to our archival work here. The background recorder feature, in particular, has enabled us to streamline simultaneous ingest setups down to a single record system that can record from multiple independent sources, allowing us to playback, edit, and output files as they’re being recorded. Upgrading to the MassCore configurations has brought an unprecedented confidence in the stability of our capture systems, even when combining high sample rates with high track count multitrack material. Thanks to the superb Horus and Hapi RAVENNA converters’ seamless compatibility with 384kHz and DSD recording, we are preserving the EMI Canada music archives with the best digital quality current technology allows.

Every now and then I get a chance to spend a moment on my own music, and it’s a great refresher and reminder of how I got so obsessed with this work in the first place. In late summer I had a free day in the studio and on a whim decided to spool up the tapes for “National Laboratory”, from 2008. Originally it was mastered with a Studer A807 transport feeding some custom tube repro amps I had built, and Crane Song HEDD A/D converters. Felt pretty state of the art at the time, but technology marches on and small incremental improvements in the signal path add up in surprising ways. Nowadays I’m using a custom ATR-102 and @mergingtech HAPI A/D converters, and I was curious to see how much more I could get off those tapes. Turns out the answer is “a lot”. I’m really happy with this remaster, and quite shocked at how much more life and vibrancy was on those tapes than we could capture originally. I’m also feeling a little bit smug for mixing to tape in the first place, which made this possible :) #analogmastering #remastering #atr102

Captured / edited / published with Pyramix too! Thank you for making great tools.

Just hearing a few tracks(...) It's stunning. I mean it's shockingly... different... I mean mindblowingly shockingly different!

The thing that stunned me the most about this system is its ability to reproduce the subtle nuances and colours of each instrument.

Pyramix is a powerful system with some unique features that are of great benefit to our archival work here. The background recorder feature, in particular, has enabled us to streamline simultaneous ingest setups down to a single record system that can record from multiple independent sources, allowing us to playback, edit, and output files as they’re being recorded. Upgrading to the MassCore configurations has brought an unprecedented confidence in the stability of our capture systems, even when combining high sample rates with high track count multitrack material. Thanks to the superb Horus and Hapi RAVENNA converters’ seamless compatibility with 384kHz and DSD recording, we are preserving the EMI Canada music archives with the best digital quality current technology allows.

The first rule of mastering is 'do no harm', and with a system as transparent as Pyramix this is easily achieved.

Btw, Recording 57ch@192 w LA Phil, 3 Horus units. Spectacular. Cannot praise enough. THANK YOU for your incredible work.

The tight integration of the multiple Pyramix workstations in our seven TV / Radio stations' central network and asset management system is a very efficient and productive solution for us.

The sonic quality of Merging Technologies' "Quad DSD" is impossible to fully summarize. It reveals enhanced signal information not as mere "data" but clearly rendered with relaxed musical clarity that approaches explicit analog delicacy.

It seems that no matter how much power you present to a digital audio workstation user, they will work as hard as they can to find the upper limits of that power. We are so happy to be able to now completely raise the bar once again on what our users are able to achieve… and we are very interested to see if anyone now is able to find the new limit, or if there even is one!

Live recording for large scale events is all about reliability, so for us Pyramix was the only choice.

With a good recording, I never use any EQ or dynamic processing at all. Editing is an important tool. It makes it possible to combine the highest level of energy and details into an intense performance. To do that you need to use a sonically transparent workstation. For the past decade, we’ve worked with Merging Technologies on their Pyramix system.

Recording to Direct Stream Digital has always been a must for us to deliver the most revealing and accurate sound. Taking DSD from 2.8 MHz to 11.2 MHz doesn't just step it up to the next level, it catapults it!

Every now and then I get a chance to spend a moment on my own music, and it’s a great refresher and reminder of how I got so obsessed with this work in the first place. In late summer I had a free day in the studio and on a whim decided to spool up the tapes for “National Laboratory”, from 2008. Originally it was mastered with a Studer A807 transport feeding some custom tube repro amps I had built, and Crane Song HEDD A/D converters. Felt pretty state of the art at the time, but technology marches on and small incremental improvements in the signal path add up in surprising ways. Nowadays I’m using a custom ATR-102 and @mergingtech HAPI A/D converters, and I was curious to see how much more I could get off those tapes. Turns out the answer is “a lot”. I’m really happy with this remaster, and quite shocked at how much more life and vibrancy was on those tapes than we could capture originally. I’m also feeling a little bit smug for mixing to tape in the first place, which made this possible :) #analogmastering #remastering #atr102

Captured / edited / published with Pyramix too! Thank you for making great tools.

Now that I experienced, with the Pyramix Masscore, RAVENNA and Horus combination, how beautiful, transparent and dynamic digital audio in high resolution can sound, my strategy changed from adding compensation to controlled processing.

Thanks so much for this superb machine.

Sometimes it's a relatively simple solo piano recording for SACD with 8 channels of DSD, sometimes a complicated live opera production or music post production with video. Whatever it is, we record it, edit it, mix it, and master it with Pyramix.

All installed and up and running. Am I crazy or is it more than just the chipsets that's different? Are the filters redesigned? I feel, especially in the top and bottom octaves that everything feels tighter and more defined, soundstage feels more definite and precise, it's a lot easier to pick out and separate low level detail...phantom center feels so solid now, it's effortless to separate kick from bass now. I'll have to live with them for a while, but I just recalled a mix, exact same settings, and it sounds noticeably better. I honestly wasn't expecting to hear all that much, but it's a significant improvement. Had my assistant set up a blind A/B for me and I picked out the new ones versus the previous generation prints every time. They sound amazing.

We have enjoyed a consistent presence at various recent Olympic Games with Pyramix for the big ceremonies and now Horus and Ovation being used in vital situations. It is a nice reward for the hard work of my engineering team to see our products being used at such high profile events.

The dynamics and harmonics of the piano to the sighs and subtle nuances of Gino’s voice were all reproduced perfectly. This test was so convincing that we immediately purchased the whole fantastic system. We will be doing all our concerts in DXD from now onwards.

Pyramix is essential to every part of our workflow. Being able to preserve high samplerates, even up to the mastering stage, is such a huge benefit to us.

The Merging NADAC has an important tale to tell audiophiles – it shows us that what the pros really work with is really good quality equipment, after all.

This is best DAC we have ever auditioned and it is worth every penny - even if the price tag might not suit everyone.

Those qualities -- solidity of images, density of tonal colors -- were present in all the music I played through the NADAC.

Switching to DSD with the NADAC moves it to another level and reveals the absolute excellence of its playback quality.

Rendons à César ce qui appartient à César : je n'ai pas encore entendu une reproduction plus claire et plus détaillée de fichiers DSD que celle offerte par le Nadac utilisé en liaison Ethernet. Le niveau de transparence est exceptionnel.

During one of our demonstrations, I presented a music file created from a vinyl using Merging's analog to digital system. When the music began to play, audiophiles in attendance were amazed at the rich multilayered sound in the air. They felt as though they were listening to one of the finest quality vinyls. Based on our experiences, we are confident that NADAC has the ability to convey recording studio quality audio at home, even after decoding.
If you have not heard the sound that comes from the NADAC yet, please attend a demonstration and listen to the difference yourself!

Listening sessions with these masterpieces through the NADAC at near-concert levels have been some of my most thrilling listening experiences.

Nec plus ultra. I have not heard a clearer and cleaner reproduction of DSD at all levels than that offered by the NADAC.

On the Jennifer Warnes track, First We Take Manhattan, which I am very familiar with, the rhythm section was incisive and tight and it was a performance with a real sense of speed, so much so that I became lost in the music.

I was taken aback by how natural the applause, whistling and other audience sounds were reproduced. The clarity and detail was as though the NADAC was being used with an external clock – although none was actually connected.

Merging Technologies has brought the larger world of professional audio gear into our world of consumer high-end listening rooms, with all of the benefits thereof. I am listening to the results here at PF Central, and am deeply impressed. This is the real deal, setting a sonic performance benchmark that other DSD DACs will have to address.

Only a tiny number of handful of digital devices I’ve heard manage to combine all those virtues without a significant downside.

In fact, the NADAC did wonders with this track: Podger’s instrument sounded like no mere facsimile of a violin. Instead, the sounds of the strings were so tangible that I felt I could reach out and wrap my hand around them. The highest frequencies were delicately rendered and sounded completely natural -- the antithesis of early digital. There were no hard edges, no overly crisp transients -- just beautiful sound.

In terms of features, the NADAC is a next-generation device, replacing the USB connection that has become the standard way to connect a DAC to a computer system. Instead, the NADAC’s Ethernet port, implemented in conjunction with an industry-standard software protocol (Ravenna), delivers network capability so that the NADAC can access music from a variety of computer-derived sources throughout the user’s home. This functionality should easily become the new standard; I think it will replace USB as the de facto method for connecting computer devices to an audio system. It works great.

If you’re getting the sense that the NADAC was easy to listen to, you’re right.

The opening notes were startling, I had the disturbing but exhilarating feeling that music was actually being made in my room, not merely reproduced.

I was struck by the NADAC’s extraordinarily vibrant, lucid, transparent, and highly three-dimensional presentation!

The sense of space around the singers, the extreme depth of soundfield, and the tonally meaty voices made this track super-enjoyable through the NADAC ST-2.

Seems that NADAC and Roon is a match made in Heaven :-)

Merging Technologies’ NADAC is a distinctive device compared with existing DACs, thanks to its innovative technical solution; introducing networking into domestic audio. In conclusion the performance of this DAC is excellent, particularly if using high resolution files in DSD format with the Emotion player. Taking into consideration the above, its price, below EURO 10’000 seems to me to be in a very good relationship with the quality of this professional DAC.

I installed the NADAC in my set up using the Merging Emotion player, with Windows7. The Swiss DAC passed the first tests with flying colours by working flawlessly and showing from the very beginning a peculiarity which, in my opinion, constitutes one of the best prerogatives: silence. I guess it is due to the Ethernet connection. Obviously I do not mean the silence level which you can also reach with a good USB connection. I am talking about an absolute black on which the sounds are focused like silhouettes on the background. Another peculiarity of this DAC is its unusual speed and dynamics. Additionally, this NADAC is a powerful critic in the case of a lousy recording, detecting all the deficiencies precisely.

I'm confident that it's really that good…it's the best that I've heard in DSD and high-resolution PCM/DXD DACs to date.

I found the NADAC Multichannel-8 flawless. It provided some of the best sound I have ever heard in my home.

As I expected, on the 11.2MHz DSD, the naturalness of the sound space, the vividness of the vocal and the pureness of the guitar’s timbre were exceptional, but more than that I was most impressed by how clearly I could hear each element of the music.

This immediately made me sit forward on my chair. Even taking into account the fact that we were using an excellent demonstration system, the singer’s voice was reproduced with great clarity, in an especially solid, three-dimensional form between the loudspeakers.

The honesty of the Merging device simply makes it seem like it is playing music totally unconstrained by the electronics.