Audient and Sonarworks team up on portable “professional-grade” acoustic calibration device

If you’re a producer or mix engineer, you’ll know the feeling of disappointment when you take a mix which sounds perfect, play it in a new setting and it doesn’t quite hit in the same way.

But with their innovative new ORIA Mini, Audient and Sonarworks seek to eliminate that problem.

A “compact yet powerful” room correction system, the ORIA Mini delivers “professional-grade” acoustic calibration in a dedicated hardware device, granting creators, producers and studio owners the confidence to “trust every mix”, with no software, CPU strain or latency.

But how does the ORIA Mini work, exactly? Well, it sits as a hardware DSP solution between your audio interface and speakers, and measures and corrects the acoustic imperfections of any space – whether it’s a home studio or professional control room. The device then applies corrective calibration directly via its onboard DSP.

Audient and Sonarworks say this ensures accurate, reliable monitoring without having to rely on plugins or system-wide software.

Powered by Sonarworks’ SoundID Reference technology, the ORIA Mini boasts 32-bit converters, 127dB dynamic range and support for up to 2.1 speaker systems, while users can load up to four unique calibration profiles to the unit and switch between them instantly.

With Sonarworks, users can even create calibration profiles that simulate different playback environments like a car or mobile phone, to check how their mix will sound in these common listening scenarios.

“Every engineer knows the frustration of chasing mixes that don’t translate outside the studio,” says Andrew Allen, Product & Marketing Director at Audient. 

“The truth is, your room is usually the problem and if you can’t trust what you’re hearing, you can’t trust your mix. ORIA Mini fixes that in minutes, giving you a professional monitoring environment you can actually trust and the confidence to unlock your best mixes yet.”

“We understand whilst room correction has such a positive impact on your ability to achieve great mixes it is also complicated!  It is for that reason that ORIA Mini is designed to be a set and forget box – offering consistent, reliable performance with ultra-low latency, doing its job quietly in the background with zero fuss. No crashes, no CPU strain – just high resolution, consistently accurate monitoring whether you’re mixing in your DAW or simply streaming music via Spotify.”

“At Sonarworks, our mission has always been to help creators hear every detail with confidence, no matter where they work. With ORIA Mini powered by SoundID Reference, that promise extends into a dedicated hardware solution – giving creators studio-accurate sound without CPU strain, latency, or workflow disruption,” says Martins Polelis, CPO at Sonarworks. 

“By correcting room imperfections and ensuring mixes translate across every playback system, ORIA Mini embodies the core of what Sonarworks delivers: consistency, reliability, and freedom for creators to focus purely on their music.”

Importantly, calibration and setup is simple, and can be done in just 20 minutes, according to Audient and Sonarworks.

Pricing & availability

The ORIA Mini is available now in the following configurations:

ORIA Mini + SoundID Reference Complete Bundle – £379 / €439 / $449

Ideal for users just getting started with room and monitor calibration. Includes ORIA Mini hardware, SoundID Reference for speakers for Speakers and Headphones license, SoundID Reference Measurement Microphone.

ORIA Mini Add-On Bundle – £335 / €398 / $398

For existing SoundID users, or users with multiple ORIA Minis, this bundle includes ORIA Mini hardware, SoundID Reference for ORIA Mini Add-on License and SoundID Reference Measurement Microphone)

ORIA Mini hardware only – £249 / €299 / $299

Includes ORIA Mini hardware and SoundID Reference Measurement Microphone

Learn more about the ORIA Mini at Audient.

Sam is the Associate News Editor for Guitar.com and MusicTech. Thoroughly immersed in music culture for the majority of his life, Sam has played guitar for 20 years, studied music technology and production at university, and also written for the likes of MusicRadar, Guitar World, Total Guitar and Metal Hammer.