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Lynx Aurora 16 vs Behringer ADA8000 Audio Interfaces
Old 1st January 2012
  #511
Quote:
Originally Posted by Finnish View Post
So what would you say, use Behr as DA or M-Audio 2626? (I have both)
Just try what sounds better for you music
Old 2nd January 2012
  #512
Lives for gear
 
Sensorychaos's Avatar
 

First of all, thank's for this nice and useful thread
This is really interesting...I was looking for an ADAT 16 AD/DA unit.
I looked @ RME (I already own a fireface 800-really happy with it), ferrofish, lynx, prism...)...
These units cost from 1000 to several thousands euros...
When I read this great thread...I'm realizing how we can be attached strongly to names and brands...But the ridiculous price of that box is frightening and makes me smile...
Audio path would be...fireface 16 adat out--->ADA 8000 (2x)--->16 analog into Neve 8816 summing mixer---->stereo analog mix into ADA 8000--->stereo adat mix into fireface 800...
Old 2nd January 2012
  #513
This thread changed my life actually Thank God!

I have SRC2496 and it kills Digi AD and DA. The only con is it has own sound (as every high-end converter) and build emphasis so does not fit every studio. ADA8000 sounds more neutral to me. I really was sceptic about this.. but after investing few bucks the difference was night and day. Plus I got 3 year nearby store guarantee fot this unit. Perfect for us!
Old 5th January 2012
  #514
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dasoundjunkie's Avatar
 

I wish there was a version with just the conversion and all connectivity in the back. Don't need the pres and having the line inputs on the front would be very inconvenient in my setup
Old 6th January 2012
  #515
I think that converted audio not only has dynamic distortion but key pitch also! Thats why audio we hear is so "blured". Behringer got technology that fixes this off-key pitch harmonics created by jitter! Maybe this is a secret of theirs convertors. Plus they all Alesis btw.
Old 6th January 2012
  #516
PS: did some test with clocking. And internal clock is the best for any converter. Think that digi 003 has some engineering mistake in output clocking (clocking outboard makes it sound more dynamic).. input clocking is the same if clocked external. But still theirs clocks and converters are soo poor in comparison to any high-end one.
Old 6th January 2012
  #517
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Quote:
Originally Posted by Anghello View Post
I think that converted audio not only has dynamic distortion but key pitch also! Thats why audio we hear is so "blured". Behringer got technology that fixes this off-key pitch harmonics created by jitter! Maybe this is a secret of theirs convertors. Plus they all Alesis btw.

No idea what you're talking about here...
Old 6th January 2012
  #518
Quote:
Originally Posted by living sounds View Post
No idea what you're talking about here...
I think its quite logic. If ADDA convertion does influence dynamics and phase.. why it cant influence the tune? Thats what SRC attached guide tells:

Quartz clock gen removes jitter and corrects off-tune, incorrect sample rates
Old 6th January 2012
  #519
And if it still sounds like bullsh.t so why every converter has different mood? I believe its not about quality of cables used but about accuracy of clock.

PS: seems behringer did a huge research that other home-high-end companys cant afford. Its all about know how in this case. Thats why pricing is so low and they still make a profit.
Old 6th January 2012
  #520
Lives for gear
 

Clocking is a complex thing and very difficult and expensive to measure properly. Converters sound different because there are many relevant factors influencing the sound (parts, circuit design, PSU etc.). I had a Behringer converter I used strictly in the digital domain for realtime SRC. I didn't sound great, and shouldn't for the parts the money can buy.

There's a reason why the really musical, flawless sounding converters cost huge sums of money, it takes a lot of time to do the R&D (the cheap ones are just standard layouts from the chip manufacturers), build them in small amounts mostly by hand with the best part and calibrate and select every component.

It's way harder to get an effortless musical sound in digital than from an analog setup IMO. That's something very different from low noisefloor or low distortion on 1khz sinewaves.
Old 6th January 2012
  #521
Thank you. Usefull info to me. And I do totally agree that its much harder get a musical sound from digital. Recently I went OTB after 8 years of basically everyday work ITB and its a Night and Day. When I tryed Behr SRC converter after Digi it was Night and Day again. Maybe I would do some comparison tests of 003 and SRC and put them right there and youll get my point..
Old 29th February 2012
  #522
Gear interested
 

Hmmm

Or perhaps OP works for Behringer and is here to sway us?
Old 1st March 2012
  #523
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DR Music's Avatar
It's hard to admit that it might be true. Everyone had a hard time telling the differences.

Some products, even Berhringer, from time to time make a Very Good Product.
Old 1st March 2012
  #524
Aurora is still very high quality anyway. Great mid range and definition missing in berry. But price/performance comparison is really crazy
Old 6th March 2012
  #525
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RonT's Avatar
 

Been preaching for 3 years now that "B"Word was a great for extra channels. I have 6 of them now.

M-Audio Lightbridge and 4 ADA8000s for mobile rig... and 2 in the rack at the studio connected to a 192 Digital along side a Lynx Aurora 16 and Rosetta 800.

To each it's own but I learned and adapted...
Old 9th March 2012
  #526
I often think about the test that was done here and I absolutely love it!
I'll probably end up with a ada800 although I was one of the few that preferred the sound of the apogee. It was so small a diff. it makes me

Now the other ultimate loopback thread hit the disappointed O.C.D chord in me, as I own a 828mk3, which rank alittle low. Is it ever gonna matter for the work I do....I really doubt it and I probably wouldn't be able to hear the difference between the best converter made vs mine on 80 tracks I suppose. It's nice to make the best most accurate music we can, but I can't go sell my motu 828mk3 because after one pass it distorts a saw tooth wave. It did well on the other wave form tests. Thanks to this thread I'm not going nutz.

We approached the point of a home studio being so accurate and sound so good while being relatively affordable. It's a great time to be a recording musician!!! If Led zep had this technology back then how much better would it sound, I think a lot.
And we would quit hearing about how wonderful dirty over driven hissy tape sounds and get to the more accurate of what it sounds like when a singer sings or guitar player plays live. Full and accurate, not saying I don't mind some harmonic distortion but the best overtones come from a phenomenal instrument!
Old 12th April 2012
  #527
Gear interested
 

I've been in the market to buy a new set of ADAt 8 chan pres to run with my Focusrite Liquid Saffire 56. After reading a lot of reviews and threads. I bought the Behringer AD8000. It's suppose to be here today. The unit I purchased has has the Alesis AI-3 chip in it and not the newer one.
After listening to the audio test I too hear very little difference in the units. But I'm still leaning towards purchasing the Focusrite Octepre MkII since I will be using the LS56. The only thing I'm really worried about the Ad8000 is the clock issue. I plan on using the LS56 as the master to hopefully avoid that problem.
Old 14th April 2012
  #528
Gear interested
 

Well after thinking long and hard (even after buying the ada8000), I decided on the Saffire Pro 40 to adat to the Liquid Saffire 56 for the extra I/O's. and also would leave me a backup interface if something should happen to one or the other.

After emailing Focusrite they said that this would work great.
Old 14th April 2012
  #529
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DR Music's Avatar
Quote:
Originally Posted by muzicmaken View Post

After emailing Focusrite they said that this would work great.
Ofcourse they would..
Old 14th April 2012
  #530
Quote:
Originally Posted by muzicmaken View Post
Well after thinking long and hard (even after buying the ada8000), I decided on the Saffire Pro 40 to adat to the Liquid Saffire 56 for the extra I/O's. and also would leave me a backup interface if something should happen to one or the other.

After emailing Focusrite they said that this would work great.
Try using focusrite pres and ADA converters.. should work fine if you need extra pres.
Old 22nd April 2012
  #531
Gear interested
 
dignittyrecords's Avatar
 

wow! i love these tests. i liked A better, the $200 converter. this shows that we're all better off creating and/or finding great music to record than running ourselves ragged with the gear.
Old 22nd April 2012
  #532
Quote:
Originally Posted by dignittyrecords View Post
this shows that we're all better off creating and/or finding great music to record than running ourselves ragged with the gear.
Thats so true!

PS: but not so easy
Old 26th April 2012
  #533
Gear nut
 
Retrospekta's Avatar
 

Quote:
Originally Posted by norman_nomad View Post
Why is this a disaster for Lynx and not a virtue for RME (Who designed the circuit that Behringer ripped off)??

The Aurora did exactly what it was supposed to do - convert the signal with very little "footprint".

The Behringer left a bigger footprint, but people here seemed to like the sound of it.

To me, this exercise gives us a chance to reflect on why we like what we like and get past the brand partisanship.
Old 26th April 2012
  #534
Gear nut
 
Retrospekta's Avatar
 

in the end its noting else but a great fantasy to believe that a 200$ product really would outperform a 3000$ product. like some people that say there is no sonic difference between 48khz and 96..... and they might be right.... its in our ears.. you only hear what your ears let you hear.

but fun to go through the pages...

thanks for the entertainment.
Old 29th April 2012
  #535
Quote:
Originally Posted by Retrospekta View Post
in the end its noting else but a great fantasy to believe that a 200$ product really would outperform a 3000$ product. like some people that say there is no sonic difference between 48khz and 96..... and they might be right.... its in our ears.. you only hear what your ears let you hear.

but fun to go through the pages...

thanks for the entertainment.
It's been awhile since I read this thread...or most of it. It was shown how the apogee was significantly closer to the original file. The point being people were having a hard time telling them apart or preferring the ada.
Old 29th April 2012
  #536
Gear Maniac
 
ryandfl's Avatar
 

I just asked this elsewhere, but having the answer here would be a good resource for anyone else not in the know -

I'm considering getting a ADA8000 and running its adat into a Motu 2408 mk3. The Motu 2408, card and daw (Reaper) I am usually running at 96k or 88.2, but the ADA8000 only goes for 48k. So in order to use the ADA would everything need to be set to 48k or could the other pieces be going at a higher rate, resulting in recordings at two different sample rates simultaneously?

I'm thinking everything needs to be at the same sample rate, but I want to be sure.

Last edited by ryandfl; 29th April 2012 at 07:44 AM.. Reason: typo
Old 29th April 2012
  #537
Quote:
Originally Posted by ryandfl View Post
I just asked this elsewhere, but having the answer here would be a good resource for anyone else not in the know -

I'm considering getting a ADA8000 and running its adat into a Motu 2408 mk3. The Motu 2408, card and daw (Reaper) I am usually running at 96k or 88.2, but the ADA8000 only goes for 48k. So in order to use the ADA would everything need to be set to 48k or could the other pieces be going at a higher rate, resulting in recordings at two different sample rates simultaneously?

I'm thinking everything needs to be at the same sample rate, but I want to be sure.
You can record one part of session at 88,2 and second part at 44,1 with ADA. Then import 44.1 session to 88.2 and mix it together if you run DAW only. The only point of it is better plug-in performance at higher sample rates. But I recomend do not reconvert 44.1 sessions to 96 or so and then go back to 44.1 if you run analog, rtas or UA audio. Every conversion can cause phase cancelation or different data errors - depends on conversion quality. Yes 96 give you bit better high frequency ballance.. and its nice to have 88.2 session, but in my experience you cant hear the difference between OTB mixing between 44.1 and 96 so I run 44.1 without any problems in high fq and less conversion problems. 44.1 is basically 22khz in real world. Ask yourself if you can hear above it and you really need that extra definition. 32 bits would give you more than 96khz in real world.

2cents
Old 2nd June 2012
  #538
Gear maniac
 
shani haider's Avatar
 

This!
Old 3rd June 2012
  #539
Lives for gear
 
DR Music's Avatar
Quote:
Originally Posted by Anghello View Post
You can record one part of session at 88,2 and second part at 44,1 with ADA. Then import 44.1 session to 88.2 and mix it together if you run DAW only. The only point of it is better plug-in performance at higher sample rates. But I recomend do not reconvert 44.1 sessions to 96 or so and then go back to 44.1 if you run analog, rtas or UA audio. Every conversion can cause phase cancelation or different data errors - depends on conversion quality. Yes 96 give you bit better high frequency ballance.. and its nice to have 88.2 session, but in my experience you cant hear the difference between OTB mixing between 44.1 and 96 so I run 44.1 without any problems in high fq and less conversion problems. 44.1 is basically 22khz in real world. Ask yourself if you can hear above it and you really need that extra definition. 32 bits would give you more than 96khz in real world.

2cents
Correct-amando!!
Old 19th June 2012
  #540
Lives for gear
 

Quote:
Originally Posted by Anghello View Post
You can record one part of session at 88,2 and second part at 44,1 with ADA. Then import 44.1 session to 88.2 and mix it together if you run DAW only. The only point of it is better plug-in performance at higher sample rates. But I recomend do not reconvert 44.1 sessions to 96 or so and then go back to 44.1 if you run analog, rtas or UA audio. Every conversion can cause phase cancelation or different data errors - depends on conversion quality. Yes 96 give you bit better high frequency ballance.. and its nice to have 88.2 session, but in my experience you cant hear the difference between OTB mixing between 44.1 and 96 so I run 44.1 without any problems in high fq and less conversion problems. 44.1 is basically 22khz in real world. Ask yourself if you can hear above it and you really need that extra definition. 32 bits would give you more than 96khz in real world.

2cents
32 bits > 96 wha?

Conversion - phase cancellation wha?

Agree with some of what you said, but do expand on SRC causing phase cancellation and how 32 bits means anything regarding 96 khz

Cheers
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