Originally Posted by DannyL ➡️

I used a USBPre 2 on spec from my pro audio dealer to do an "emergency" recording. I used the pre with a Neumann TLM-67, also on spec.
I did a series of recordings and overdubs (at 88.2) and the USBPre 2 really impressed me, both sonically and operationally .... I kept it. Since then I have used it as an input device, with a variety of mics, as an output device, as a standalone device and once as a word clock source for a Yamaha 01V96 console. It certainly improved the sound of the Yamaha.

In short, you cannot touch the quality or ease of use of this device at the price point: US$649.00. I did a head to head with the Duet and I felt the USBPre was far more accurate, and much easier to install. I preferred it to the RME Babyface, especially in terms of construction. I would like to hear it against the ULN-2.

The USBPre 2 is a very flexible device with a minimum of software controls: most parameters are controlled through 2 sets of dip switches and front panel buttons. The mic pres are transparent and quiet. Not full of character like an API or Neve, but accurate and open sounding.

An excellent tool to have in the arsenal.

Regards;
Danny

Originally Posted by Rexie ➡️

Well I'm a long-time lurker on this forum, but signed up as I can comment on your question from experience. And since you ask about critical listening, permit me to take more of an audiophile rather than sound engineer approach.

I had a Lynx L22 from '03 through '09 and finally, reluctantly let go of it when I had the same legacy PCI bus issue that you are confronting. When I got it, it was clear that it outclassed my Krell CD player which was sent packing to eBay. The L22 is a gem-- I had Frank at Signal Cable make a set of silver resolution interconnects to replace the stock cable harness and was certain that was a step in the right direction, I thought.

The Apogee Duet that I bought as a replacement sounded good as a D/A--though I tend to agree with the generalizations I have heard elsewhere that it can be a little clinical in its presentation and does not offer the last word on soundstage depth. Plus, there was a defect in the A/D section so it never was tested for recording. Back to Apogee it went for a replacement and as it was in transit the USBPre-2 was released. Had to get it instead, and the folk at Sweetwater had it to me the week it was released.

And wow, it is amazing how much Sound Devices has been able to fit into that little box. For the A/D section, I use the balanced Mic pre's to boost the signal from my turntable, and then apply RIAA equalization in Pure Vinyl on my Mac, and that approach exceeds the phono stage in my Plinius M16 pre-amp in all aspects. The transparency and depth of the USBPre2 on D/A matches or exceeds my recollection of the L22. Plus, with the volume knobs on the USBPre2 you can experiment with by-passing your pre-amp (it's tough to be a pre-amp these days) and go straight into your amp. And, hey, you can go balanced into your amp as well!

I predict you will find the USBPre2 gives the same qualities that made the L22 such an outstanding value. But if not, there will be a whole bunch of people eager to take it off your hands at not much off what you paid for it in the first place.

Have fun!
Rexie