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Backin ya up... I've been testing for over 3 years.
This is significant. The ULN8 is unusual for the length of it's development in this day and age. Others have released 2-3 new lines while the ULN8 was in development. It's been working in studios big and small for a long time. So, unlike a new piece from other companies, what you buy is not barely-beta. It's seriously used as a workhorse in real-world environments before you touch it. I know of at least one Grammy-winning record, aside from my one-and-only Grammy nomination, made on ULN8s. 2 CEA winners have been mastered on them. Some of us on the team have been fretting to get it on the market over a year, but BJ's attitude is characterized by the old Robert Mondavi commercial: he serves no interface before it's time! In hindsight this makes sense: their stuff holds its value, and stays "state of the art" years after release. Both current models are still class-leaders, and will remain so in their niches. There still aren't many better boxes than 2882s and ULN2s. They are the first truly "classic" digital interfaces (wiess makes some dsp boxes I'd call classics too).
At my old job the pres enabled us to replace a 32 channel, classic MCI console in our A room, and improve the sound of our PTHD system by upgrading its front end. Yeah, that's right: we bypassed the old HD192s entirely, and suffer through Digi's routing just for the pres and Console. For the record, we had Amek, Neve, and oodles of outboard pres. I stopped using most of them when the 8s arrived. In my mastering/sound design room, I was able to basically gut a wall of gear, eliminate half the cabling, improve all interconnects and reliability (moving to db25), and make trouble shooting faster and easier. I had to replace my old monolith desk because it looked terrible with nothing in it and I hated the reflections anyway. I had a Studio Technologies pre, and some others that I never used after the 8 was installed.
It's for real.
-d-
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