We only recommend products that we use and believe in. When you purchase through links on our site, we may earn an affiliate commission.
14-in/16-out USB-C audio interface with 4 Cinemag® transformer-driven Auteur pre-amps, Macro-MMC clocking and a robust suite of monitoring facilities
As a truly high-end class-compliant 14-in/16-out USB-C audio interface that duly delivers acclaimed audio quality, supreme clocking, and a robust suite of monitoring facilities previously unheard of in a 1U device, Revolution 14×16 is expandable via ADAT for additional I/O, boasts superior connectivity for external processors, and even includes two channels of Black Lion Audio-designed Auteur pre-amps, while its unique MIX EDIT feature allows a custom headphone mix to be created for its three crystal-clear headphone amps and patented Macro-MMC clocking ensures that any hardware synchronised to the audio interface itself is going to sound at its absolute best.
Digging deeper, Revolution 14×16’s front panel-positioned CHANNEL 1 and CHANNEL 2 inputs — readily replicated as FRONT PANEL OVERRIDES on its rear panel — proudly feature Black Lion Audio’s Auteur pre-amps. Having hitherto only been available in the boutique audio company’s standalone pre-amp hardware, Auteur pre-amps deliver the best of both worlds of classic pre-amp designs with lower gain levels letting loose the fast attack of American-style pre-amps — perfectly complimenting drums and rhythm guitar in the process of doing so, while cranking up the gain brings the warmth and colour of classic British pre-amps to the production proceedings — particularly flattering to vocals and bass. Better still, Auteur pre-amps are transformer-coupled — just like the classic consoles of yesteryear — with Cinemag® transformers being responsible for the added harmonic weight and saturation that sound so pleasing when they are pushed.
Pushing onwards and upwards, Revolution 14×16 plays well with others. On the face of it, there are four rear panel-positioned mic/instrument pre-amps — namely, CHANNEL 1IN, CHANNEL 2IN, CHANNEL 3IN, and CHANNEL 4IN (each featuring independent front panel-positioned +48V phantom power toggle switches) — alongside four switchable insert/returns — respectively labelled CHANNEL 1 INSERT, SEND, RETURN/LINE; CHANNEL 2 INSERT, SEND, RETURN/LINE; CHANNEL 3 INSERT, SEND, RETURN/LINE; and CHANNEL 4 INSERT, SEND, RETURN/LINE — for connection to external hardware processors. It is possible to A/B the signal at the touch of a (front panel-positioned) button, while, as alluded to by that aforesaid labelling, those RETURN connections double as LINE inputs for keyboards, synths, and other line-level devices for further flexibility. Furthermore, it is even possible to use Revolution 14×16 as a four-channel standalone mic pre-amp with no computer connection, thanks to those insert sends. And as if that was not enough to be getting on with, a secondary set of user-definable ANALOG OUT connections let users route two analogue signals wherever they wish, while S/PDIF connections round out the package for connection to digital devices. It is pertinent to point out here, however, that Revolution 14×16 is readily expandable with an additional eight inputs and outputs over ADAT, Black Lion Audio’s relatively recently released Revolution EXP (https://www.blacklionaudio.com/store/interfaces/revolution-exp/) — representing revolutionary expansion professionally packaged in a road-worthy, rack-mountable metal enclosure encompassing 16 analogue TRS connections alongside 16 channels of ADAT I/O, boutique component selection, plus patented Macro-MMC clocking ensuring that every connected device sounds its absolute best — acts as the perfect partner in that regard.
Revolution 14×16 users can clearly rest easy, safe in the knowledge that their connected devices will run in perfect sync — all thanks to that patented Macro-MMC clocking which was developed from Black Lion Audio’s extensive experience of creating dedicated word clocks, as well as modifying many embedded clocks found in other audio interfaces. It is fair to say, then, that Revolution 14×16 users will get the best possible performance from its converters, and anything connected via its WORD CLOCK BNC connections will benefit from maximum sync and ultra-low jitter, thereby minimising the phase distortions that can muddy their music’s high-end frequency content and dull its transients. That said, anyone who has invested in a clock that they are already enamoured with need not worry, for Revolution 14×16 graciously accepts WORD CLOCK IN — as evidenced by its feature-packed rear panel.
Flexibility further continues with Revolution 14×16’s three crystal-clear, plenty-loud headphone amps, allowing owners and collaborators to produce music without worrying about mains feedback, and the intuitive MIX EDIT feature can be used to quickly create a dedicated low-latency headphone mix from both the hardware inputs and software playback; speaking of the latter, a software mixer for Windows with virtual channels and loopback capability lets users reroute system audio to their DAW (Digital Audio Workstation) or app of choice. But back in the hardware world, the bright, eight-stage metering dominating the centre of Revolution 14×16’s front panel can be set to monitor channel input levels, output levels, or even the input levels of the rear panel-positioned channel inserts, while the main MONITOR OUT(puts) and headphone outputs are mono-summable (by pressing the MONO MAIN and MONO HP buttons).
Black Lion Audio has put everything it has learned about interfaces from years of boutique modding into Revolution 14×16; it is, as the boutique audio company itself is fond of saying, modded out of the box. By also deploying proprietary PG-i filtering technology that is based on Black Lion Audio’s extensive experience in engineering ‘best-in-class’ power conditioners alongside highly-filtered power rails with full-circuit power decoupling to further reduce noise contamination, the resulting crystal-clear audio is sure to musically move both Revolution 14×16 users and their fans. For best possible capture and playback, Revolution 14×16 sports over two dozen high-end, hard-to-find Nichicon, Vishay, and Wima capacitors, as well as thin film resistors and high-end ICs (integrated circuits). All add up to a component-sourcing nightmare, but an audiophile’s dream! Indeed, internal gain-staging is all optimised for the best signal-to-noise ratio, while, last but by no means least, all analogue I/O is fully decoupled and balanced in a manner only found in the most premium audio equipment — right down to the very core of the converter — for even further noise reduction.
Revolution 14×16 is unquestionably a truly high-end audio interface flagship from Black Lion Audio, therefore, this time taking the respected Revolution nomenclature to lofty levels of technical engagement, respectfully treating its users’ music-making activities to world-class clocking and low-noise conversion.
Revolution 14×16 — packaged with the Revolution Software Suite (comprising a 90-day license for PreSonus’ Studio One+ recording and music production DAW with all the extras and a 90-day license for Sonarworks’ SoundID Reference For Headphones calibration software, plus permanent licenses for Audified’s GK Amplification 3 LE bass amp modeller of legendary Gallien-Krueger amps and cabs, Audified’s MixChecker mix-checking plug-in with playback device emulations, and Psychic Modulation’s EchoMelt3 BPM-based modulation and echo) — should start shipping through Black Lion Audio’s growing global network of dealers/distributors (https://www.blacklionaudio.com/dealers) with a MAP (Minimum Advertised Price) of $1,299.00 USD and an SSP (Suggested Selling Price) of €1,699.00 EUR (including 19% VAT) towards the end of October 2024.
For more in-depth info, please visit the Revolution 14×16 dedicated webpage here: https://www.blacklionaudio.com/store/interfaces/revolution-14×16/
About The Author
