Although the RADAR 6's 48kHz response between 10Hz and 22kHz is as flat as a pancake, there's something about the warmth of the combination of bass extension and the 22kHz cutoff frequency that, to me, sounds 'right'.
Although these days I often use a computer-based DAW with a digital console on its front end for recording and mixdown, I'm still happiest with hardware in front of me.
In one sense, it's very obviously a computer in a box, but in operation together with a monitor and a Session Controller Pro, it feels to me more like a tape machine with really good editing facilities. It's extremely easy to set up and operate, and the speed at which you can carry out tasks without burying yourself in windows and menus means that recording sessions flow in a very natural way. I didn't have a single reliability issue and it didn't misbehave once.
When I did find a problem with loading a track's worth of multiple WAV files generated from one of my DAWs, it took iZ support all of a couple of hours to identify the root cause which wasn't down to the RADAR 6 , research the answer and to send me a software beta version that completely solved the issue. So, if you have the budget, should you buy one? That depends on your situation. It's smaller, lighter and quieter, and the removable The rear panel of the Radar 6, with various options fitted.
The use of existing remotes and several cards could make an upgrade path a lot less painful than it might be otherwise. For that hard-core, old-school rock vibe, a RADAR 6 and a good-sounding analogue console will get you closer to the sound of two-inch tape, except that this time round there are editing features that have many, many more options and opportunities than there were 20 years ago.
However, if you have the budget available but can't justify spending it all on a single piece of dedicated hardware that more or less 'just' records and makes cut and paste edits, then the RADAR 6 isn't for you. Although the RADAR 6 and the ADA II aren't exactly cheap to buy I believe that, given their level of performance, they do actually represent good value for money, especially when you think that there are RADARs approaching 20 years old out there that are still working and earning their keep.
I don't think that we'll be saying that about year-old computers and DAWs any time soon. Crucially, there is no dedicated remote control. Full details of the various cost options can be found on iZ's web site, which features a useful estimate calculator where you can specify the system to your needs.
To give you an idea of the typical systems a prospective purchaser might wish to assemble, and how much they might cost, please see below. The RADAR being a modular system, the review unit came loaded with rather more than the average system and costs correspondingly more than you might typically expect to pay. A typical RADAR user usually wants a channel analogue recorder with remote control and touchscreen.
Typical pricing for the ADA II will depend very much on your choice of converter card, the number of channels required, and whether you wish to integrate the unit directly into a Pro Tools system. There is often a disparity between measured technical performance of converters and perceived 'audio quality', and that appears to be the case with both iZ products reviewed here. The technical specifications are decent enough for a mid-priced professional product, but they aren't class-leading. For example, switching between and bit modes on the Ultra Nyquist converters yields only a 1.
Importantly, though, during a relatively brief listening session I thought the converters sounded neutral and natural, without any obvious hyping — which is significant when you're going to stack up a lot of tracks on a multitrack system. And I don't suppose for a minute that the signal-to-noise performance limitations will have any impact on mix-down noise given that most sources will be way noisier anyway.
Hugh Robjohns. They are musical and complete sounding without suffering from being dull or too warm like other convertors. I still enjoy the character of Lavry Blues but the iZ is just more real sounding. Despite what people like to think, these convertors have not been bested by more modern convertor offerings.
I have owned a few converters Apogee, Lynx, etc. The ADA is clear yet boasts this special kind of character that I wasn't able to find in any other box.
Any more comments from radar uses who have compared radar with today's new converters? My Studio. Jim Williams. I just got a "end of life" notice, they are now discontinued. An occasional collaborator swears by the Radar converters. I note, though, that the converter's impact is quickly lost by other production decisions, and mixing through elaborate paths of analog desks and outboard. I'll join the other climate deniers and express that converters are less and less the rate-limiting step of what we do in John Caldwell.
Why isn't there more people using radar converters if they are that good and sound much better than converters made today? It's awesome. But it's also the unparalleled workflow via the Session Controller. The power supply is crucial and Radar doesn't skimp in that regard Control your session like never before.
With fully integrated Pro Tools commands, never miss a beat — pilot your session with ease. RADAR studio is compatible with third party audio processing cards. Install your own card and away you go! What can we say? Read more here. As any studio owner knows, the difference between good and great often almost always comes down to the performance.
Be creative instead of steering a mouse. Running Pro Tools natively, you can track, mix, and automate, using all the plugins and features your workflow requires. These systems are rock-solid. Think about it — without techno-tweaking and re-booting your DAW, how much more great music do you think you could capture? As the world becomes increasingly digital and disposable, you'll be at ease knowing your RADAR will last.
With a near-zero jitter, pristine signal path, and the latest in converter technology, there is simply not another recording device on the market that moves input to output as gloriously and euphonically as RADAR.
Overview RADAR systems are the premier choice for multi-track recording and playback in some of the finest recording studios, scoring stages, theatres, and post-production houses around the world.
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