Craig Anderton, Electronic Musician
"Frankly, the whole experience was pretty boring: The AD-596 was easy to hook up, worked without having to do anything other than make connections, sounded wonderful, and yes, it fits in a standard 500-series frame. The only real excitement comes from watching the peak indicator LEDs for the eight channels to see if they indicate clipping, and the fact that you can set the LEDs for peak hold as well as clear them—good for on-location recordings if you want to know whether there was an over when you weren’t looking. Another cool feature is what Millennia calls True-Lock-Clock, which basically means if the external clock goes away, the AD-596 switches over to its internal clock."
"I’m pretty sure this is the only digital 500-series device, but it demonstrates the depth of the spec. Think about it: when used in conjunction with a frame like the Workhorse, you could have seven mic pres, send their outs through a DB-25 cable into the AD-596, then patch the AD-596 output into your recording device of choice . . compact, portable, and comparatively speaking, inexpensive."
Jack Vad, award winning producer/engineer for the San Francisco Symphony recently upgraded his recording/broadcast chain at Davies Symphony Hall.
"I have been using the Millennia AD-D96 analog to digital converter in our HV-3D and really love the sound.
When it came time to expand our in-house recording facility, I was looking for high quality A to Ds in a compact, modular package. When I heard about the 500 series AD-596 project, it was clear that we finally had a solution.
The AD-596 not only duplicates the excellent performance of the AD-D96, it also allows us to simultaneously have an easily reconfigurable, mobile system with far greater flexibility than one box, rack secured options.
Additionally, the per channel cost of this new high quality conversion is unmatched!!!”