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Evaluating AD/DA loops by means of Audio Diffmaker
Old 19th October 2015
  #1231
Here for the gear
DIGI 003 Rack
Old 19th October 2015
  #1232
Lives for gear
 
didier.brest's Avatar
 

Results from Prism Lyra 2 and Digi 003 tests by Shptq added.

DA-AD loops from this wav file evaluated by means of Audio DiffMaker.

'Difference' indicates RMS level figures measured in Wavelab from the difference file delivered by Audio DiffMaker.
'Difference*' indicates RMS level figures got from a difference file generated in Matlab after refining the time offset and gain figures provided by Audio DiffMaker in order to get the lowest difference level. Hence the 'Difference*' figures are lower than the 'Difference' figures.

Read also this about the test method.
See at the end of this post how to contribute to the test.

AD-DA converters performing from their internal clock

Lynx Hilo
schizoide on Pragmatic Audio: 0.5 dB (L), 0.5 dB (R)..Corr Depth: 56,5 dB (L), 57,6 dB (R) Difference*: -72.3 dBFS, -71.2 dBFS
CoolColJ - 6 last second part disregarded: -0,1 dB (L), -0,1 dB (R) Corr Depth: 41,8 dB (L), 43,7 dB (R), Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
sm5, line in and line out trims set at +0: -0.1 dB (L), -0.1 dB (R)..Corr Depth: 41,8 dB (L), 43,6 dB (R) Difference*: -58.9 dBFS (L), -59.0 dBFS (R)
sm5, level line in and line out trims set at +24: 0.0 dB (L), 0.0 dB (R)..Corr Depth: 41,8 dB (L), 43,6 RMS Difference*: -59.1 dBFS (L), -59.1 dBFS (R)
Agustin Mongelli, Line out: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Phone out: 0.0 dB (L), 0.1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Line Out Trim 0dBV, Line In Trim 2dBV: 1,9 B (L), 1,9 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)

Merging Technologies Hapi
ADA8 ---> ADA8 (ljudatervinning): 0.391dB (L), 0.376dB (R) Corr Depth: 38,5 dB (L), 40,1 dB (R) Difference*: -58,9 dBFS (L), -60,3 dBFS (R)
DA8P --> AD8DP (Touf on Pragmatic Audio)
0.08 dB (L), 0.07 dB (R) Corr Depth: 35,9 dB (L), 37,2 dB (R) Difference*: -53.0 dBFS (L), -52.8 dBFS (R)
ADA8 ---> AD8D (ljudatervinning) 0,2 dB (L), 0,2 dB (R)..Corr Depth: 36,2 dB (L), 37,6 dB (R) Difference*: -53.1 dBFS (L), -53.0 dBFS (R)

Antelope Pure2
Touf on Pragmatic Audio: -0.0 dB (L), -0,2 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)
MattGray: 0,0 dB (L), -0,0 dB (R)..Corr Depth: 36,3 dB (L), 37.9 dB (R) Difference*: -56.8 dB (L), -58.2 dB (R)

Metric Halo LIO-8
(BrianVengeance): 3.0 dB (L), 3.0 dB (R)..Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi: 3,4 dB (L), 3,4 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi, out +3 dB: 0.4 dB (L), 0.5 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

MOTU 2408mk3 (ram75)
0,1 dB (L), 0,1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56,7 dBFS (L), -58,1 dBFS (R)

MOTU 828mkII
laurend: 6.1 dB (L), 6.2 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
MusicManic: -0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
syns: 6.1 dB (L), 6.1 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference* -56.7 dBFS (L) , -58.0 dBFS (R)
capn357 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,4 dB (L), 38,0 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

MOTU 24I/O
Zam on Pragmatic Audio: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.0 dBFS (R)
ram75: 0.1 dB (L), 0.1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

Mytek 8 x 192 AD/DA (MainTime)
0,4 dB (L), 0,5 dB (R) Corr Depth: 35,3 dB (L), 36,9 dB (R) Difference*: -55.8 dBFS (L) -57.1 dBFS (R)

Lynx Aurora 8 (cylens)
-0,1 dB (L), -0,1 dB (R) Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference*: -54.5 dBFS (L) -55.6 dBFS (R)

Lynx Aurora 16
Touf on Pragmatic Audio: -0,1dB (L), -0,1dB (R)..Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -54,2 dBFS (L) , -55,1 dBFS (R)
antichef: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference*: -54.5 dBFS (L), -55.5 dBFS (R)

Edirol UA-1000 (gollumsluvslave)
0.2 dB (L), 0.2 dB (R) Corr Depth: 34,0 dB (L), 35,6 dB (R) Difference*: -54.4 dBFS (L), -55.7 dBFS (R)

TC Electronic Konnekt 48
DownSideUp: 13.1 dB (L), 13.2 dB (R)..Corr Depth: 33,2 dB (L), 34,8 dB (R) Difference*: -53.6 dBFS (L) -54.9 dBFS (R)
TC-konnekt48 Output_input 5+6

Lynx L22 (bezen4uk)
2,9 dB (L), 2,9 dB (R)..Corr Depth: 33,0 dB (L), 34,7 dB (R) Difference*: -53.5 dBFS (L), -54.7 dBFS (R)

ESI [email protected] (Agustin Mongelli)
5.6dB (L), 5.7dB (R) Corr Depth: 33,0 dB (L), 34,6 dB (R) Difference*: -53.4 dBFS (L), -54.7 dBFS (R)

Lynx LynxTWO-B
bezen4uk: 2,8 dB (L), 2,8 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.2 dBFS (L) , -54.5 dBFS (R)
mattiasnyc: -0,03 dB (L), -0,04 dB (R) Corr Depth: 32,9 dB (L), 34,5 dB (R) Difference: -52.8 dBFS (L) , -53.4 dBFS (R)

ESI [email protected] XTe (DUJS)
-0.3 dB (L), -0.3 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.1 dBFS (L), -54.5 dBFS (R)

Lynx E44 (LTrain)
-0.0 dB (L), -0.0 dB (R) Corr Depth: 32,3 dB (L), 34,1 dB (R) Difference*: -52.5 dBFS (L), -53.9 dBFS (R)

TC Electronics Impact Twin
AndG
: 0.5 dB (L), 0.8 dB (R) Corr Depth: 32,0 dB (L), 33,6 dB (R) Difference*: -52.5 dBFS (L) -53.8 dBFS (R)
Coucou: -0.1 dB (L), -0.0 dB (R) Corr Depth: 29,1 dB (L), 30,4 dB (R) Difference: -48,9 dBFS (L), -49,2 dBFS (R)
ben: Corr Depth: 29,1 dB (L), 30,8 dB (R) Difference: -48,7 dBFS (L), -49,7 dBFS (R)

RME HDSP 9632 (schtim)
0.5 dB (L), 0.5 dB (R) Corr Depth: 31.4 dB (L), 33.0 dB (R) Difference*: -51.9 dBFS (L) -53.2 dBFS (R)

RME ADI-8 QS (lou latch)
0.0 dB (L), 0.0 dB (R) Corr Depth: 31,4 dB (L), 32,9 dB (R) Difference*: -51.7 dBFS (L), -52.7 dBFS (R)
5.0 dB (L), 5.0 dB (R) Corr Depth: 31,4 dB (L), 33,0 dB (R) Difference*: -51.7 dBFS (L), -52.9 dBFS (R)

Audient iD22 through insert inputs
andyfromHH: 0.0 dB (L), 0.1 dB (R) Corr Depth: 32,4 dB (L), 34,3 dB (R) Difference*: -45.4 dBFS (L), -46.6 dBFS (R)
Hardtailed (outputs 3-4): -0,089dB (L), -0,091dB (R)..Corr Depth: 31,1 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (L), -52.4 dBFS (R)

Prism Lyra 1 (capn357)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,3 dB (L), 33,1 dB (R) Difference*: -51.6 dBFS (L), -53.0 dBFS (R)

Prism Lyra 2 (Shptq)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,0 dB (L), 32,6 dB (R) Difference*: -51.3 dBFS (L), -52.6 dBFS (R)

Prism Orpheus (MainTime)
0,1 dB (L), 0,1 dB (R) Corr Depth: 30,8 dB (L), 32,4 dB (R) Difference*: -51.1 dBFS (L) -52.4 dBFS (R)

RME Fireface 400
didier.brest: 0.3 dB (L), 0.3 dB (R) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -50.7 dBFS (L) -52.0 dBFS (R)
MusicManic: 0.2 dB (L), 0.3 dB (R) Corr Depth: 24,0 dB (L), 25,8 dB (R) Difference*: -44.4 dBFS (L) -46.0 dBFS (R)

MOTU Track16 (EvgenyStudio)
7,0 dB (L), 6,9 dB Corr Depth: 30,0 dB (L), 31,5 dB (R) Difference: -50,4 dBFS (L), -51,6 dBFS (R)

Forsell MADA-2
vjm through funkakuchi on Pragmatic Audio) 3,6 dB (L), 4,1 dB (R) Corr Depth: 27,8 dB (L), 30,9 dB (R) Difference* -50.3 dBFS (L) , -51.7 dBFS (R)
MattGray (rev. a unit): 0.0 dB (L), 0.0 dB (R)..Corr Depth: 29,6 dB (L), 31,2 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Apogee Symphony I/O (Ajantis)
0,0 dB (L), 0,0 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51,2 dBFS (L), -50,1 dBFS dB (R)

MOTU 16A (davidbayles)
728.5 µs, 1.518 dB (L) 1.513 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51.1 dBFS (L), -50.1 dBFS (R)

Apogee Rosetta 800 (davidbayle)
0.2 dB (L), 0.2 dB (R) Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference*: -50.0 dBFS (L), -50.9 dBFS (R)

Apogee Rosetta 200 (Winston Tones)

-0.1 dB (L), -0.0 dB (R) Corr Depth: 37,9 dB (L), 39,8 dB (R) Difference*: -50.7 dB (L), -50.0 dB (R)

Prism ADA-8XR (shelterr)
-0,03 dB (L), -0,03 dB (R) Corr Depth: 37,5 dB (L), 39,5 dB (R) Difference*: -50,7 dBFS(L) -50,0 dBFS(R)

Crane Song HEDD-92 (Spartacus)
0.5 dB (L), 0.5 dB (R) Corr Depth: 36,6 dB (L), 38,4 dB (R) Difference*: -50.7 dBFS (L) , -50.0 dBFS (R)

Echo Audiofire 12 (guze)
0.7 dB (L), 0.7 dB (R) Corr Depth: 28,8 dB (L), 30,1 dB (R) Difference*: -49.2 dBFS (L) -50.3 dBFS (R)

MOTU 828 MK3 hybrid (South Paul)
4.5 dB (L), 4.4 dB (R) Corr Depth: 30,0 dB (L), 31,6 dB (R) Difference*: -48.3 dB (L), 48.4 dB (R)

Avid HD I/O 16x16 Analog (Pezzn)
-0,0 dB (L), -0,0 dB (R)..Corr Depth: 28,8 dB (L), 30,6 dB (R) Difference*: -47.7 dBFS (L), -48.1 dBFS (R)

SPL Madison (living sounds) - Early production unit
0.0 dB (L), 0.0 dB (R) Corr Depth: 27,3 dB (L), 28,9 dB (R) Difference*: -47.6 dBFS (L), -49.0 dBFS (R)

SSL Alpha-Link MX 16-4 (Sankly)
0,1 dB (L), 0,1 dB (R)..Corr Depth: 27,2 dB (L), 28,8 dB (R) Difference*: -47.6 dBFS, -48.9 dBFS

Dell Optiplex 755 (Winston Tones)
Front jack analog out to rear mini-jack line in 1.2 dB (L), 1.3 dB (R)..Corr Depth: 27,0 dB (L), 28,6 dB (R) Difference*: -47.4 dBFS (L) , -48.8 dBFS (R)
Front jacks: 1,7 dB (L), 1,3 dB (R)..Corr Depth: 25,3 dB (L), 26,8 dB (R) Difference: -44.8 dBFS (L) , -45.9 dBFS (R)
Rear mini-jacks: -0,4 dB (L), -0,3 dB (R)..Corr Depth: 11,9 dB (L), 13,9 dB (R) Difference: -31.5 dBFS (L) , -32.8 dBFS (R)

DAD AX24 ([email protected])
-0,1 dB (L), -0,1 dB (R) Corr Depth: 27,4 dB (L), 28,9 dB (R) Difference*: -46.8 dBFS (L), -47.3 dBFS (R)

Behringer ADA8200 (didier.brest)
gain @ 10 o'clock : 4.3 dB (L), 4.6 dB (R)..Corr Depth: 27,6 dB (L), 29,2 dB (R) Difference*: -46.6 dBFS (L) , -47.7 dBFS (R)
gain mini : 14,7 dB (L), 14,3 dB (R)..Corr Depth: 27,9 dB (L), 29,5 dB (R) Difference: -46,8 dBFS (L) , -47,9 dBFS (R)

Universal audio Apollo 8 Quad (kmr)
0.1 dB (R) 0.1 dB (L) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -46.4 dBFS (L), -47.4 dBFS (R)

E-MU 1616m, left channel only (ben)
-0.4 dB (L), Corr Depth: 28,9 dB (L) Difference: -47.7 dBFS (L)

Antelope Audio Eclipse 384 (Giuseppe Zaccaria)
-0,1 dB (L), -0,21 B (R) Corr Depth: 26,3 dB (L), 27,8 dB (R) Difference: -45.8 dBFS (L) -46.9 dBFS (R)

Apogee Ensemble Thunderbolt (kmr)
0,2 dB (L), 0,3 dB (R)..Corr Depth: 25,2 dB (L), 26,8 dB (R) Difference*: -45.7 dBFS (L), -47.1 dBFS (R)

Echo 2 (bezen4UK)
2,3 dB (L), 2,3 dB (R)..Corr Depth: 26,9 dB (L), 28,6 dB (R) Difference*: -45.7 dBFS (L), -47.0 dBFS (R)

Echo Audiofire 4
syns 0,4 dB (L), 0,4 dB (R) Corr Depth: 26,3 dB (L), 27,6 dB (R) Difference: -45.7 dBFS (L), -46.6 dBFS (R)
david1103 0,5 dB (L), 0,4 dB Corr Depth: 25,6 dB (L), 27,4 dB (R) Difference: -45,2 dBFS (L), -46,3 dBFS (R)

Universal Audio Apollo Quad (davidbayles)
0.3dB (L), 0.3dB (R). Corr Depth: 26,5 dB (L), 28,0 dB (R). Difference*: -45.7 dBFS (L), -46.4 dBFS (R)

Steinberg UR824 (kegn51)
-0,3 (L), 0,2 dB (R) Corr Depth: 20,5 dB (L), 22,2 dB (R) Difference: -45.0 dBFS (L), -46.1 dBFS (R)

Metric Halo ULN-2 (DownSideUp)
5,4 dB (L), 5,4 dB (R) Corr Depth: 25,3 dB (L), 26,9 dB (R) Difference: -44.9 dB (L), 46.0 dB (R)

Focusrite Saffire PRO 40 (MusicManic)
-0.566 dB (L), 0.293 dB (R) Corr Depth: 27,8 dB (L), 32,0 dB (R) Difference*: -45.3 dBFS (L), -44.6dBFS (R)

Mackie Onyx Blackjack (kegn51)
2,9 dB (L), 2,9 dB (R) Corr Depth: 30,5 dB (L), 32,3 dB (R) Difference*: -45.1 dB (L), -44.5 dB (R)

ESI ESP1010 (Agustin Mongelli)
-0,2 dB (L), -0,2 dB (R) Corr Depth: 24,0 dB (L), 25,7 dB (R) Difference*: -44.4 dBFS (L) , -45.9 dBFS (R)

M-Audio FireWire 410 (JonasNorberg)
0,2dB (L) 0,2dB (R)..Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference: -44.1 dBFS (L) -45.3 dBFS (R)

M-Audio Profire 2626 (cylens)
-0.5 dB (L), -0.5 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference*: -44.8 dBFS (L), -46.1 dBFS (R)

Echo Audiofire 8 non adat CS4272 (guze)
0,8 dB (L), 0,9 dB (R) Corr Depth: 26,4 dB (L), 28,2 dB (R) Difference*: -44.0 dBFS (L) -43.9 dBFS (R)

ECHO INDIGO io (bezen4uk)
0,6 dB (L), 0,6 dB (R) Corr Depth: 26,1 dB (L), 27,8 dB (R) Difference*: -43,8 dB (L), -43,7 dB (R)

MOTU HD192 (delchambre on Audiofanzine)
1.0 dB (L), 1.0 dB (R) Corr Depth: 23,4 dB (L), 25,0 dB (R) Difference: -43.1 dBFS (L), -44.2 dBFS (R)

RME HDSPe AIO(Touf on Pragmatic Audio)
0,7 dB (L), 0,7 dB (R) Corr Depth: 23,0 dB (L), 24,5 dB (R) Diff. -42,7 dBFS (L) , -43,6 dBFS (R)

RME Multiface II (juki, Audiofanzine)
Unbalanced, -10 dBV: Corr Depth: 22,7 dB (L), 24,4 dB (R) Difference: -42,4 dBFS (L) -43,5 dBFS (R)
Balanced, 4 dBu: Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L) -43,0 dBFS (R)

RME Fireface 800
genelec79: Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dB (L), -43,0 dB (R)
-10 dBV outputs to low gain inputs (syns): 15,547dB (L), 15,601dB (R)..Corr Depth: 14,5 dB (L), 15,9 dB (R) Difference: -31.9 dBFS (L), -31.6 dBFS (R)

MOTU Traveler MK1 with Black Lion Mod (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference*: -41.8 dBFS (L), -43.2 dBFS (R)

MOTU Traveler MK1 (sinebox)
Corr Depth: 22,2 dB (L), 23,9 dB (R) Difference: -41,8 dBFS (L), -42,9 dBFS (R)

2011 MacBook Pro (stinkyfingers)
3,5 dB (L), 3,5 dB (R) Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference: -41.8 dBFS (L), -42.4 dBFS (R)

Avid Mbox 3 (Coucou)
5,1 dB (L), 5,1 dB (R) Corr Depth: 21,8 dB (L), 23,6 dB (R) Difference*: -41.3 dBFS (L), -42.0 dBFS (R)

MOTU UltraLite (dheming)
0,6 dB (L), 0,5 dB (R)..Corr Depth: 21,1 dB (L), 22,6 dB (R) Difference: -40.7 dBFS (L), -41.8 dBFS (R)

Tascam DA-3000 (dheming)
0,5 dB (L), 0,4 dB (R)..Corr Depth: 22,5 dB (L), 24,0 dB (R) Difference: -40.5 dBFS (L), -40.7 dBFS (R)

Apogee Duet2 (isma)
1.0 dB (L), 1.0 dB (R) Corr Depth: 19,8 dB (L), 21,4 dB (R) Difference*: -40.2 dBFS (L) -41.6 dBFS (R)

Yamaha Steinberg MR816X (didier.brest)
1.1 dB (L), 0.5 dB (R) Corr Depth: 19,1 dB (L), 21,0 dB (R) Difference*: -39.9 dB (L), -41.2 dB (R)

Tascam US-144MKII (capn357)
0,2 dB (L), 0,4 dB (R)..Corr Depth: 18,6 dB (L), 20,2 dB (R) Difference*: -39.0 dBFS (L), -40.4 dBFS (R)

RME Fireface UFX (didier.brest)
XLR outputs 1-2 to TRS inputs 3-4: 0.8 dB (L), 0.7 dB (R) Corr Depth: 18,5 dB (L), 20,1 dB (R) Difference*: -39.0 dBFS (L), -40.3 dBFS (R)
TRS outputs 5-6 to TRS inputs 3-4: 0,7 dB (L), 0,7 dB (R) Corr Depth: 18,4 dB (L), 20,1 dB (R) Difference*: -38,8 dBFS (L), -40,3 dBFS (R)
outputs 1-2 to XLR preamp inputs 9-10: 0,5 dB (L), 0,4 dB (R) Corr Depth: 14,7 dB (L), 16,2 dB (R) Difference: -35,0 dBFS (L) -36,3 dBFS (R)

Sony Vaio [email protected] (kegn51)
Corr Depth: 20,4 dB (L), 22,0 dB (R) Diff. -38,9 dBFS (L) , -40,0 dBFS (R)

Antelope Audio Orion (davidbayle)
Corr Depth: 19,2 dB (L), 20,7 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)

Focusrite Saffire Pro 24 DSP (CoolColJ), first 45s part disregarded
5,2 dB (L), 5,2 dB (R) Corr Depth: 20,2 dB (L), 22,0 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)

Apogee PSX-100 (Winston Tones)
0.8 dB (L), 0.8 dB (R) Difference*: -38.5 dBFS (L), -39.9dBFS (R)

Focusrite Forte (Coucou)
9,9 dB (L), 9,9 dB (R) Corr Depth: 18,3 dB (L), 19,8 dB (R) Difference: -38,3 dBFS (L), -39,4 dBFS (R)

Focusrite Liquid Saffire 56, Line output to microphone input + pad (Melodeath)
0,2 dB (L), 0,2 dB (R) Corr Depth: 17,9 dB (L), 19,3 dB (R) Difference: -37,9 dBFS (L) -38,9 dBFS (R)

Digidesign 003 Rack
dheming: 0,4 dB (L), 0,5 dB (R) Corr Depth: 18,6 dB (L), 20,0 dB (R) Difference: -38.3 dBFS (L), -39.1 dBFS (R).
Shptq: 0.5 dB (L), 0,5 dB (R) Corr Depth: 18,4 dB (L), 20,2 dB (R) Difference*: -38.5 dBFS (L), -39.8 dBFS (R)

Echo AudioFire 2 (dheming)
0.6 dB (L), 0.2 dB (R) Corr Depth: 20,8 dB (L), 21,9 dB (R) Difference*: -37.8 dBFS (L), -37.9 dBFS (R)

Roland UA-22 Duo Capture-Ex (zoreviy)
5,0 dB (L), 5,1 dB (R)..Corr Depth: 18,2 dB (L), 19,7 dB (R) Difference: -36.5 dBFS (L), -36.2 dBFS (R)

Lavry Blue (Touf on Pragmatic Audio)
Modes Crystal and Narrow : 0,2 dB (L), 0,2 dB (R)..Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference -36,5 dBFS (L) , -37,5 dBFS (R)
Mode Wide: Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference: -36,4 dBFS (L) , -37,6 dBFS (R)

Tascam UH-7000 (sm5)
6,8 dB (L), 6,5 dB (R) Corr Depth: 15,5 dB (L), 17,1 dB (R) Difference: -35.2 dBFS (L) -36.2 dBFS (R)

Asus 11.6" laptop (kegn51)
1,3 dB (L), 1,7 dB (R) Corr Depth: 15,5 dB (L), 17,0 dB (R) Difference: -35,2 dBFS (L) , -36,2 dBFS (R)

Edirol FA-66 (didier.brest)
1.0 dB (L), 0.6 dB (R) Corr Depth: 15,6 dB (L), 17,1 dB (R) Difference*: -34.5 dBFS (L) -35.5 dBFS (R)

Focusrite Scarlett 2i2 (EvgenyStudio)
15,5 dB (L), 15,5 dB (R)Corr Depth: 19,3 dB (L), 23,6 dB (R) Difference*: -32,4 dBFS (L), -31,7 dBFS (R)

Line 6 POD Studio UX2 (Piux)
-0,5 dB (L), -0,4 dB (R) Corr Depth: 11,0 dB (L), 12,5 dB (R) Difference: -30.6 dBFS (L) -31.6 dBFS (R)

RME Babyface (didier.brest)
0.4 dB (L), 0.5 dB (R) Corr Depth: 9,2 dB (L), 10,8 dB (R) Difference*: -29.6 dBFS (L) -30.9 dBFS (R)



External clocking


MOTU 828mkII clocked by Lucid GENx192 (MusicManic)
-0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)

Lynx Aurora 8 clocked by (cylens)
Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -55.3 dBFS (L) -56.5 dBFS (R)

RME ADI-8 DS Mk III clocked through ADAT by RME HDSP 9652 (maartenl945)
0,2 dB (L), 0,2 dB (R) Corr Depth: 32,9 dB (L), 34,4 dB (R) Difference*: -49.9 dBFS (L), -49.9 dBFS (R)

Ferrofish A16 MK-II clocked by RME HDSPe RayDAT (ST.)
0,3 dB (L), 0,3 dB (R) Corr Depth: 26,6 dB (L), 28,2 dB (R) Difference: -46.3 dBFS (L) -47.3 dBFS (R)

Apogee Rosetta 800 clocked by Universal Audio Apollo (davidbayle)
Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Apogee Rosetta 800 clocked by Antelope Orion (davidbayle)
Corr Depth: 39,6 dB (L), 41,6 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Echo Audiofire 8 with ADAT clocked by RME HDSP 9632 (schtim)
Corr Depth: 25.9 dB (L), 27.5 dB (R) Difference: -45.5 dBFS (L) -46.5 dBFS (R)

M-Audio Profire2626 clocked by RME HDSPe RayDAT (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.1 dBFS (L) -45.0 dBFS (R)

M-Audio Profire2626 clocked by Lynx Aurora8 (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.0 dBFS (L) -44.9 dBFS (R)

Behringer ADA8000 clocked by RME Fireface UFX (Krisprolls on Pragmatic Audio)
minimum gain : 13,4 dB (L), 13,4 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Diff. -44,0 dBFS (L) , -45,3 dBFS (R)
gain @ 4 : 1,2 dB (L), 1,4 dB (R)..Corr Depth: 23,9 dB (L), 25,5 dB (R) Diff. -42,3 dBFS (L) , -44,5 dBFS (R)

RME Octamic XTC clocked by RME Fireface UFX (Loicm on Pragmatic Audio) - Unbalanced phone output to
unbalanced instrument inputs 5-6, 13 dB gain: 1,0 dB (L), 1,0 dB (R)..Corr Depth: 22,8 dB (L), 24,4 dB (R) Difference*: -43.3 dBFS (L), -44.6 dBFS (R)
balanced line inputs 1-2, 10 dB gain: 4,5 dB (L), 4,5 dB (R)..Corr Depth: 19,4 dB (L), 21,0 dB (R) Difference*: -39.8 dBFS (L), -41.2 dBFS (R)

Universal Audio Apollo clocked by Apogee Rosetta (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

Universal Audio Apollo clocked by Antelope Orion (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

RME Fireface 800 clocked by Yamaha 02R (genelec79)
Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L), -43,0 dBFS (R)

Motu Traveler MK1 clocked by Lynx Aurora 16 or Black Lion Micro Clock mk1 (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference: -41.1 dBFS (L), -42.1 dBFS (R)



Couples of different converters


Synchronised mode ('master' indicates which converter delivers the master clock)

Forssell MDAC-4 ----> Focusrite Blue 245 master, (funkakuchi on Pragmatic Audio = funka on Gearslutz)
Focusrite sensitivity 0 dBFS = 16 dBu
0,1 dB (L), 0,0 dB (R) Corr Depth: 64.7 dB (L), 65.7 dB (R) Difference: -77.1 dBFS (L) -78.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 10
4.0 dB (L), 4.0 dB (R) Corr Depth: 66.9 dB (L), 69.8 dB (R) Difference*: -81.2 dBFS (L) -81.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 53
3.9 dB (L) 4.0 dB (R) Corr Depth: 69,4 dB (L), 71,5 dB (R) Difference*: -80.1 dB (L), -80.1 dB (R)

SPL Madison ---> Texas Instrument PCM4222 Evaluation Module master (living sounds) . Details of the clocking.
0,2 dB (L), 0,2 dB (R) Corr Depth: 78,7 dB (L), 81,2 dB (R) Difference*: -80.1 dBFS, -80.1 dBFS

MSB Platinum IV Plus DAC ---> MSB Studio ADC master (DUJS)
4,9 dB (L), 4,9 dB (R) Corr Depth: 62,8 dB (L), 63,4 dB (R) Difference: -77,7 dBFS (L), -77,4 dBFS (R)

ReQuest Audio, The Beast DAC master ---> MSB Platinum Studio ADC (DUJS)
Corr Depth: 62,0 dB (L), 63,4 dB (R) Difference: -76,9 dBFS (L), -76,3 dBFS (R)

Swissonic DA24 MkII ---> Texas Instrument PCM4222 Evaluation Module master + DC offset removal (living sounds)
0,1 dB (L), 0,1 dB (R) Corr Depth: 82,6 dB (L), 85,5 dB (R) Difference*: -73.0 dBFS (L), -73.8 dBFS (R)

ESI [email protected] XTe DAC ---> MSB Studio ADC master (DUJS)
Corr Depth: 46,0 dB (L), 48,0 dB (R) Difference: -65,3 dBFS (L), -66,7 dBFS (R)

Forsell MADA-2 ---> Antelope Pure2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

Swissonic DA24 MkII ---> Black Lion Audio Sparrow mkII (living sounds)
0,6 dB (L), 0,6 dB (R) Corr Depth: 36,0 dB (L), 37,6 dB (R) Difference*: -56.4 dBFS (L) , -57.8 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC master (dheming)
1,1 dB (L), 1,0 dB (R)..Corr Depth: 35,5 dB (L), 37,0 dB (R) Difference: -55,2 dBFS (L), -56,3 dBFS (R)

Metric Halo LIO-8 ---> Burl B2 Bomber ADC (Antoine Fabi)
LIO-8 or B2 WC master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R), Difference: -54.8 dBFS (L), -55,7 dBFS (R), Difference* (B2 WC master): -55.7 dBFS (L), -57.0 dBFS (R)
B2 AES master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R) Difference: -54.8 dBFS (L), -55,6 dBFS (R)

RME Fireface 400 ---> MOTU 828mkII, 2 tests: RME or MOTU clock (MusicManic)
5,1 dB (L), 5,2 dB (R) Corr Depth: 35,1 dB (L), 36,7 dB (R) Difference: -54.7 dBFS (L), -55.7dBFS (R)

Forsell MDAC-4 ---> Studer D19 master (funkakuchi on Pragmatic Audio)
0,1 dB (L), 0,1 dB (R) Corr Depth: 34,3 dB (L), 36,2 dB (R) Difference: -53.9 dBFS (L), -55.3 dBFS (R)

Lynx Aurora 16 ---> Focusrite Blue 245 master (funkakuchi on Pragamatic Audio)
0,04 dB (L), 0,02 dB (R) Corr Depth: 63,4 dB (L), 62,2 dB (R) Difference*: -53.4 dBFS(L) -52.5 dBFS(R)

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module master (living sounds)
Synchro lock off: 0.1 dB (L), 0.1 dB (R) Corr Depth: 65,6 dB (L), 63,8 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)
Synchro lock on: 0.311 dB (L), 0.317 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)

Motu 24Ao ---> Lynx Aurora 8 (leolycra)
Motu master: -0.2 dB (L), -0.2 dB (R) Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R) Difference*: -50.2 dBFS (L), -49.7 dBFS (R)
Lynx master: -0,2 dB (L), -0,2 dB (R)..Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R)

Antelope Pure2 ---> Forsell MADA-2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 29.7 dB (L), 31.3 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Lavry DA924 ---> Lavry AD122-96MkII clocked by Antelope Isochrone Trinity + Antelope Isochrone 10M (Winston Tones)
0,0 dB (L), 0,0 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference*: -50.0 dBFS (L), -51.3 dBFS (R)

Forsell MDAC-4 ---> Forsell MADC-2 (first version) master (funkakuchi on Pragmatic Audio)
0,5dB (L), 0,5 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference: -49,2 dB (L), -50,3 dB (R)

Focusrite Saffire PRO 40 ---> MOTU 828mkII, 2 tests: Focusrite or MOTU clock (MusicManic)
2,4 dB (L), 2,4 dB (R) Corr Depth: 34,2 dB (L), 36,0 dB (R) Difference: -46.6 dBFS (L), -46.6dBFS (R)

Audient iD22 ---> Behringer ADA8200 master (Hardtailed)
2,0 dB (L), 2,5 dB (R)..Corr Depth: 28,4 dB (L), 30,6 dB (R) Difference: -46.5 dBFS (L), -48.1 dBFS (R)

Tascaml UH-7000 ---> Lynx Hilo master (sm5)
1,0 dB (L), 1,0 dB (R)..Corr Depth: 36,7 dB (L), 38,5 dB (R) Difference: -46.2 dBFS (L), -45.9 dBFS (R)

Emotiva XDA-1 ---> Prism Lyra 1 (capn357)
0,0 dB (L), 0,0 dB (R)..Corr Depth: 25,8 dB (L), 27,7 dB (R) Difference: -44.7 dBFS (L), -45.5 dBFS (R)

MOTU 828mkII ---> RME Fireface 400, 2 tests: MOTU or RME clock (MusicManic)
0,3 dB (L), 0,5 dB (R) Corr Depth: 24,5 dB (L), 26,3 dB (R) Difference: -44.1 dBFS (L), -45.3dBFS (R)

Behringer ADA8200 ---> Audient iD22 master (Hardtailed)
2,8 dB (L), 2,9 dB (R)..Corr Depth: 28,5 dB (L), 30,1 dB (R) Difference: -42.9 dBFS (L), -42.8 dBFS (R)

MOTU 828mkII ---> Focusrite Saffire PRO 40, 2 tests: MOTU / Focusrite clock (MusicManic)
1,3 dB (L), 1,8 dB (R)Corr Depth: 25,9 dB / 25,8 (L), 29,9 dB (R) Difference: -42.2 / -42.1 dBFS (L), -44.4dBFS (R)

Tascam-DA3000 ---> Mytek Stereo 192 ADC master (dheming)
3,4 dB (L), 3,3 dB (R)..Corr Depth: 27,0 dB (L), 28,3 dB (R) Difference: -39.9 dBFS (L), -39.4 dBFS (R)

Digidesign Rack ---> Mytek Stereo 192 ADC master (dheming)
0,7 dB (L), 0,7 dB (R)..Corr Depth: 17,7 dB (L), 19,0 dB (R) Difference: -38.1 dBFS (L), -39.1 dBFS (R)

Atoll DAC200 --> RME Babyface master (didier.brest)
Corr Depth: 10,1 dB (L), 11,9 dB (R) Difference: -30,0 dBFS (L) -31.3 dBFS (R)

RME Babyface --> RME Fireface 400 (didier.brest)
Corr Depth: 16,6 dB (L), 18,4 dB (R) Difference: -29,4 dBFS (L), -28,8 dBFS (R)

Benchmark DAC1 phone output ---> Echo Audiofire 4 (david1103)
Corr Depth: 10,4 dB (L), 10,2 dB (R) Difference: -22,6 dBFS (L), -23,1 dBFS (R)

Unsynchronized mode. The DA and AD converters run each on its own clock. Measurement performed with sample rate drift correction activated in Audio DiffMaker and limited to the first half of the sample. Because the RMS level of this first half is 1 dB lower than the RMS level of the full-size sample, one must increase the difference RMS level figures by 1 dB for comparison with the synchronized mode.

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module (living sounds)
Aurora clock at 44.1 kHz: 0.3 dB (L), 0.3 dB (R), rate adj=-0,0749 ppm. Corr Depth: 61,8 dB (L), 59,3 dB (R) Difference*: -54.8 dBFS (L), -53.9 dBFS (R)
Aurora clock at 88.2 kHz: 0.3 dB (L), 0.3 dB (R). rate adj=1,0352 ppm.Corr Depth: 65,9 dB (L), 69,9 dB (R) Difference*: -65.4 dBFS (L), -66.2 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC (dheming)
4,1 dB (L), 4,1 dB (R). rate adj=4,4143 ppm.Corr Depth: 36,1 dB (L), 38,1 dB (R) Difference: -56.9 dBFS (L), -58.2 dBFS (R)

Forsell MDAC-4 ---> Alesis Masterlink ML-9600 (funkakuchi on Pragmatic Audio)
1,1 dB (L), 1,2 dB (R). rate adj=7,8413 ppm.Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference: -55.3 dBFS (L), -56.5 dBFS (R)

Lavry DA11 ---> Benchmark ADC1 (non USB, 2005) ---> Tascam US-366 (usernaim)
4,2 dB (L), 3,7 dB (R). rate adj=1,2144 ppm.Corr Depth: 33,3 dB (L), 38,7 dB (R) Difference: -52.2 dBFS (L), -57.8 dBFS (R)

Musical Fidelity V-Link ---> Benchmark DAC1 ---> TC Electronic Konnekt 8 (usernaim)
5,4 dB (L), 4,9 dB (R). rate adj=-1,5532 ppm.Corr Depth: 30,1 dB (L), 32,2 dB (R) Difference: -50.8 dBFS (L), -52.1 dBFS (R)

BenchmarkDAC2 HGC ---> Digidesign Rack (dheming)
5,5 dB (L), 5,5 dB (R). Rate adjustment unnecessary.Corr Depth: 35,5 dB (L), 37,9 dB (R) Difference: -49.4 dBFS (L), -49.2 dBFS (R)

JDS Labs ODAC ---> Echo AudioFire 4 (syns)
10,2 dB (L), 10,2 dB (R). rate adj=8,1413 ppm.Corr Depth: 26,5 dB (L), 28,6 dB (R) Difference: -47.2 dBFS (L), -48.6 dBFS (R)

MOTU Ultralite ---> Mytek Stereo 192 ADC (dheming)

1,5 dB (L), 1,5 dB (R). rate adj=0,0474 ppm.Corr Depth: 36,8 dB (L), 39,1 dB (R) Difference*: -46.9 dBFS (L), -46.2 dBFS (R)

ATOLL DAC 200 --> RME Fireface UFX (didier.brest)
2,3 dB (L), 2,4 dB (R). rate adj=8,8289 ppm.Corr Depth: 23,2 dB (L), 25,3 dB (R) Difference: -44,0 dBFS (L), -45,4 dBFS (R)

JDS Labs ODAC ---> RME Fireface 800 (syns)
5,3 dB (L), 5,3 dB (R). rate adj=-1,5467 ppm.Corr Depth: 23,2 dB (L), 25,5 dB (R) Difference: -43.8 dBFS (L), -45.3 dBFS (R)

Benchmark DAC2 HGC ---> Marantz PMD661 (dheming)
4,1 dB (L), 4,5 dB (R). rate adj=14,8525 ppm.Corr Depth: 23,0 dB (L), 25,1 dB (R) Difference: -43.8 dBFS (L), -45.2 dBFS (R)

Tascam DA-3000 ---> Mytek Stereo 192 ADC (dheming)
3,4 dB (L), 3,3 dB (R). rate adj=0,0426 ppm.Corr Depth: 27,7 dB (L), 29,3 dB (R) Difference*: -42.8 dBFS (L), -42.7 dBFS (R)

Benchmark DAC2 HGC ---> Tascam DA-3000 (dheming)
3,1 dB (L), 3,0 dB (R). rate adj=0,0750 ppm.Corr Depth: 24,0 dB (L), 25,9 dB (R) Difference: -42.5 dBFS (L), -43.0 dBFS (R)

Benchmark DAC2 HGC ---> MOTU UltraLite (dheming)
5,1 dB (L), 5,0 dB (R). rate adj=0,0102 ppm.Corr Depth: 21,7 dB (L), 23,6 dB (R) Difference: -42.3 dBFS (L), -43.6 dBFS (R)

Benchmark DAC2 HGC ---> (dheming)
8,3 dB (L), 8,2 dB (R). rate adj=-8,6552 ppm.Corr Depth: 16,4 dB (L), 18,5 dB (R) Difference: -36.9 dBFS (L), -38.3 dBFS (R)

ATOLL DAC 200 --> RME Babyface (didier.brest)
Rate adj=-4,3193 ppm.Corr Depth: 10,8 dB (L), 13,0 dB (R) Difference: -31,5 dBFS (L), -33,1 dBFS

For contributing to this test :
- download the test 2 x 44 kHz x 24 bit wav file (31 Mb),
- cable link the 2 DAC outputs to 2 ADC inputs,
- play back the test file to the DAC outputs and record from the ADC inputs,
- upload to mediafire or any other file sharing site the 2 x 44 kHz x 24 bit wav file from this recording and
- provide the download link here with information about ADC and DAC identities.
Your contribution is welcome even if your converter is already in the above list.
Thank you !

Last edited by didier.brest; 3rd January 2016 at 12:04 AM..
Old 19th October 2015
  #1233
Lives for gear
 

I'm curious if someone can provide the reason diffmaker uses 100 to 12khz for evaluation. The extremes at 20 and 20k would seem to be the hardest to get right, so wouldn't full bandwidth provide a better picture of which converters are really the most accurate?
Old 20th October 2015
  #1234
Lives for gear
 
didier.brest's Avatar
 

The band limitation in ADM is only for the estimation of the gain and time offsets. The difference file, so its RMS L and R levels, are full band. When I am using Matlab for estimating the same figures, there is no filtering.
Old 20th October 2015
  #1235
Lives for gear
 

Quote:
Originally Posted by didier.brest View Post
The band limitation in ADM is only for the estimation of the gain and time offsets. The difference file, so its RMS L and R levels, are full band. When I am using Matlab for estimating the same figures, there is no filtering.
Oh ok. I was misinterpreting it then. Thanks for the clarification.
Old 13th November 2015
  #1236
Gear Maniac
 
kas_lar's Avatar
 

Hi there.

I've tested two interfaces:

TC konnekt 48 - outputs+inputs 5+6

And ID22 output 1+2 and 3+4 using inserts.

https://dl.dropboxusercontent.com/u/...st-kas_lar.zip

I've used Fuzzmeasure to test the two interfaces. Is it really true that the main outputs of the ID22 has up to 0.1 Db in level difference between left and right channels?

Best regards
Kasper
Old 13th November 2015
  #1237
Lives for gear
 
didier.brest's Avatar
 

Results from TC konnekt 48 and Audient ID22 from kas_lar added

DA-AD loops from this wav file evaluated by means of Audio DiffMaker.

'Difference' indicates RMS level figures measured in Wavelab from the difference file delivered by Audio DiffMaker.
'Difference*' indicates RMS level figures got from a difference file generated in Matlab after refining the time offset and gain figures provided by Audio DiffMaker in order to get the lowest difference level. Hence the 'Difference*' figures are lower than the 'Difference' figures.

Read also this about the test method.
See at the end of this post how to contribute to the test.

AD-DA converters performing from their internal clock

Lynx Hilo
schizoide on Pragmatic Audio: 0.5 dB (L), 0.5 dB (R)..Corr Depth: 56,5 dB (L), 57,6 dB (R) Difference*: -72.3 dBFS, -71.2 dBFS
CoolColJ - 6 last second part disregarded: -0,1 dB (L), -0,1 dB (R) Corr Depth: 41,8 dB (L), 43,7 dB (R), Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
sm5, line in and line out trims set at +0: -0.1 dB (L), -0.1 dB (R)..Corr Depth: 41,8 dB (L), 43,6 dB (R) Difference*: -58.9 dBFS (L), -59.0 dBFS (R)
sm5, level line in and line out trims set at +24: 0.0 dB (L), 0.0 dB (R)..Corr Depth: 41,8 dB (L), 43,6 RMS Difference*: -59.1 dBFS (L), -59.1 dBFS (R)
Agustin Mongelli, Line out: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Phone out: 0.0 dB (L), 0.1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Line Out Trim 0dBV, Line In Trim 2dBV: 1,9 B (L), 1,9 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)

Merging Technologies Hapi
ADA8 ---> ADA8 (ljudatervinning): 0.391dB (L), 0.376dB (R) Corr Depth: 38,5 dB (L), 40,1 dB (R) Difference*: -58,9 dBFS (L), -60,3 dBFS (R)
DA8P --> AD8DP (Touf on Pragmatic Audio)
0.08 dB (L), 0.07 dB (R) Corr Depth: 35,9 dB (L), 37,2 dB (R) Difference*: -53.0 dBFS (L), -52.8 dBFS (R)
ADA8 ---> AD8D (ljudatervinning) 0,2 dB (L), 0,2 dB (R)..Corr Depth: 36,2 dB (L), 37,6 dB (R) Difference*: -53.1 dBFS (L), -53.0 dBFS (R)

Antelope Pure2
Touf on Pragmatic Audio: -0.0 dB (L), -0,2 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)
MattGray: 0,0 dB (L), -0,0 dB (R)..Corr Depth: 36,3 dB (L), 37.9 dB (R) Difference*: -56.8 dB (L), -58.2 dB (R)

Metric Halo LIO-8
(BrianVengeance): 3.0 dB (L), 3.0 dB (R)..Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi: 3,4 dB (L), 3,4 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi, out +3 dB: 0.4 dB (L), 0.5 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

MOTU 2408mk3 (ram75)
0,1 dB (L), 0,1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56,7 dBFS (L), -58,1 dBFS (R)

MOTU 828mkII
laurend: 6.1 dB (L), 6.2 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
MusicManic: -0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
syns: 6.1 dB (L), 6.1 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference* -56.7 dBFS (L) , -58.0 dBFS (R)
capn357 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,4 dB (L), 38,0 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

MOTU 24I/O
Zam on Pragmatic Audio: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.0 dBFS (R)
ram75: 0.1 dB (L), 0.1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

Mytek 8 x 192 AD/DA (MainTime)
0,4 dB (L), 0,5 dB (R) Corr Depth: 35,3 dB (L), 36,9 dB (R) Difference*: -55.8 dBFS (L) -57.1 dBFS (R)

Lynx Aurora 8 (cylens)
-0,1 dB (L), -0,1 dB (R) Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference*: -54.5 dBFS (L) -55.6 dBFS (R)

Lynx Aurora 16
Touf on Pragmatic Audio: -0,1dB (L), -0,1dB (R)..Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -54,2 dBFS (L) , -55,1 dBFS (R)
antichef: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference*: -54.5 dBFS (L), -55.5 dBFS (R)

Edirol UA-1000 (gollumsluvslave)
0.2 dB (L), 0.2 dB (R) Corr Depth: 34,0 dB (L), 35,6 dB (R) Difference*: -54.4 dBFS (L), -55.7 dBFS (R)

TC Electronic Konnekt 48
DownSideUp: 13.1 dB (L), 13.2 dB (R)..Corr Depth: 33,2 dB (L), 34,8 dB (R) Difference*: -53.6 dBFS (L) -54.9 dBFS (R)
TC-konnekt48 Output_input 5+6
kas_lar 0.1 dB (L), 0.1 dB (R)..Corr Depth: 33,1 dB (L), 34,7 dB (R) Difference*: -53.4 dBFS (L), -54.7 dBFS (R)

Lynx L22 (bezen4uk)
2,9 dB (L), 2,9 dB (R)..Corr Depth: 33,0 dB (L), 34,7 dB (R) Difference*: -53.5 dBFS (L), -54.7 dBFS (R)

ESI [email protected] (Agustin Mongelli)
5.6dB (L), 5.7dB (R) Corr Depth: 33,0 dB (L), 34,6 dB (R) Difference*: -53.4 dBFS (L), -54.7 dBFS (R)

Lynx LynxTWO-B
bezen4uk: 2,8 dB (L), 2,8 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.2 dBFS (L) , -54.5 dBFS (R)
mattiasnyc: -0,03 dB (L), -0,04 dB (R) Corr Depth: 32,9 dB (L), 34,5 dB (R) Difference: -52.8 dBFS (L) , -53.4 dBFS (R)

ESI [email protected] XTe (DUJS)
-0.3 dB (L), -0.3 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.1 dBFS (L), -54.5 dBFS (R)

Lynx E44 (LTrain)
-0.0 dB (L), -0.0 dB (R) Corr Depth: 32,3 dB (L), 34,1 dB (R) Difference*: -52.5 dBFS (L), -53.9 dBFS (R)

TC Electronics Impact Twin
AndG
: 0.5 dB (L), 0.8 dB (R) Corr Depth: 32,0 dB (L), 33,6 dB (R) Difference*: -52.5 dBFS (L) -53.8 dBFS (R)
Coucou: -0.1 dB (L), -0.0 dB (R) Corr Depth: 29,1 dB (L), 30,4 dB (R) Difference: -48,9 dBFS (L), -49,2 dBFS (R)
ben: Corr Depth: 29,1 dB (L), 30,8 dB (R) Difference: -48,7 dBFS (L), -49,7 dBFS (R)

RME HDSP 9632 (schtim)
0.5 dB (L), 0.5 dB (R) Corr Depth: 31.4 dB (L), 33.0 dB (R) Difference*: -51.9 dBFS (L) -53.2 dBFS (R)

RME ADI-8 QS (lou latch)
0.0 dB (L), 0.0 dB (R) Corr Depth: 31,4 dB (L), 32,9 dB (R) Difference*: -51.7 dBFS (L), -52.7 dBFS (R)
5.0 dB (L), 5.0 dB (R) Corr Depth: 31,4 dB (L), 33,0 dB (R) Difference*: -51.7 dBFS (L), -52.9 dBFS (R)

Audient iD22 through insert inputs
andyfromHH: 0.0 dB (L), 0.1 dB (R) Corr Depth: 32,4 dB (L), 34,3 dB (R) Difference*: -45.4 dBFS (L), -46.6 dBFS (R)
Hardtailed (outputs 3-4): -0,089dB (L), -0,091dB (R)..Corr Depth: 31,1 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (L), -52.4 dBFS (R)
kas_lar, outputs 1&2: -0,1 dB (L), -0,1B (R)..Corr Depth: 31,3 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (L), -52.8 dBFS (R). Outputs 3&4: 0.0 dB (L), 0.0 dB (R)..Corr Depth: 31,1 dB (L), 32,9 dB (R) Difference*: -51.4 dBFS (L), -53.0 dBFS (R)

Prism Lyra 1 (capn357)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,3 dB (L), 33,1 dB (R) Difference*: -51.6 dBFS (L), -53.0 dBFS (R)

Prism Lyra 2 (Shptq)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,0 dB (L), 32,6 dB (R) Difference*: -51.3 dBFS (L), -52.6 dBFS (R)

Prism Orpheus (MainTime)
0,1 dB (L), 0,1 dB (R) Corr Depth: 30,8 dB (L), 32,4 dB (R) Difference*: -51.1 dBFS (L) -52.4 dBFS (R)

RME Fireface 400
didier.brest: 0.3 dB (L), 0.3 dB (R) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -50.7 dBFS (L) -52.0 dBFS (R)
MusicManic: 0.2 dB (L), 0.3 dB (R) Corr Depth: 24,0 dB (L), 25,8 dB (R) Difference*: -44.4 dBFS (L) -46.0 dBFS (R)

MOTU Track16 (EvgenyStudio)
7.0 dB (L), 6.9 dB Corr Depth: 30,0 dB (L), 31,5 dB (R) Difference*: -50,4 dBFS (L), -51,6 dBFS (R)
MOTU Track16

Forsell MADA-2
vjm through funkakuchi on Pragmatic Audio) 3,6 dB (L), 4,1 dB (R) Corr Depth: 27,8 dB (L), 30,9 dB (R) Difference* -50.3 dBFS (L) , -51.7 dBFS (R)
MattGray (rev. a unit): 0.0 dB (L), 0.0 dB (R)..Corr Depth: 29,6 dB (L), 31,2 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Apogee Symphony I/O (Ajantis)
0,0 dB (L), 0,0 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51,2 dBFS (L), -50,1 dBFS dB (R)

MOTU 16A (davidbayles)
728.5 µs, 1.518 dB (L) 1.513 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51.1 dBFS (L), -50.1 dBFS (R)

Apogee Rosetta 800 (davidbayle)
0.2 dB (L), 0.2 dB (R) Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference*: -50.0 dBFS (L), -50.9 dBFS (R)

Apogee Rosetta 200 (Winston Tones)

-0.1 dB (L), -0.0 dB (R) Corr Depth: 37,9 dB (L), 39,8 dB (R) Difference*: -50.7 dB (L), -50.0 dB (R)

Prism ADA-8XR (shelterr)
-0,03 dB (L), -0,03 dB (R) Corr Depth: 37,5 dB (L), 39,5 dB (R) Difference*: -50,7 dBFS(L) -50,0 dBFS(R)

Crane Song HEDD-92 (Spartacus)
0.5 dB (L), 0.5 dB (R) Corr Depth: 36,6 dB (L), 38,4 dB (R) Difference*: -50.7 dBFS (L) , -50.0 dBFS (R)

Echo Audiofire 12 (guze)
0.7 dB (L), 0.7 dB (R) Corr Depth: 28,8 dB (L), 30,1 dB (R) Difference*: -49.2 dBFS (L) -50.3 dBFS (R)

MOTU 828 MK3 hybrid (South Paul)
4.5 dB (L), 4.4 dB (R) Corr Depth: 30,0 dB (L), 31,6 dB (R) Difference*: -48.3 dB (L), 48.4 dB (R)

Avid HD I/O 16x16 Analog (Pezzn)
-0,0 dB (L), -0,0 dB (R)..Corr Depth: 28,8 dB (L), 30,6 dB (R) Difference*: -47.7 dBFS (L), -48.1 dBFS (R)

E-MU 1616m, left channel only (ben)
-0.4 dB (L), Corr Depth: 28,9 dB (L) Difference: -47.7 dBFS (L)

SPL Madison (living sounds) - Early production unit
0.0 dB (L), 0.0 dB (R) Corr Depth: 27,3 dB (L), 28,9 dB (R) Difference*: -47.6 dBFS (L), -49.0 dBFS (R)

SSL Alpha-Link MX 16-4 (Sankly)
0,1 dB (L), 0,1 dB (R)..Corr Depth: 27,2 dB (L), 28,8 dB (R) Difference*: -47.6 dBFS, -48.9 dBFS

Dell Optiplex 755 (Winston Tones)
Front jack analog out to rear mini-jack line in 1.2 dB (L), 1.3 dB (R)..Corr Depth: 27,0 dB (L), 28,6 dB (R) Difference*: -47.4 dBFS (L) , -48.8 dBFS (R)
Front jacks: 1,7 dB (L), 1,3 dB (R)..Corr Depth: 25,3 dB (L), 26,8 dB (R) Difference: -44.8 dBFS (L) , -45.9 dBFS (R)
Rear mini-jacks: -0,4 dB (L), -0,3 dB (R)..Corr Depth: 11,9 dB (L), 13,9 dB (R) Difference: -31.5 dBFS (L) , -32.8 dBFS (R)

DAD AX24 ([email protected])
-0,1 dB (L), -0,1 dB (R) Corr Depth: 27,4 dB (L), 28,9 dB (R) Difference*: -46.8 dBFS (L), -47.3 dBFS (R)

Behringer ADA8200 (didier.brest)
gain @ 10 o'clock : 4.3 dB (L), 4.6 dB (R)..Corr Depth: 27,6 dB (L), 29,2 dB (R) Difference*: -46.6 dBFS (L) , -47.7 dBFS (R)
gain mini : 14,7 dB (L), 14,3 dB (R)..Corr Depth: 27,9 dB (L), 29,5 dB (R) Difference: -46,8 dBFS (L) , -47,9 dBFS (R)

Echo Audiofire 4
syns 0.4 dB (L), 0.4 dB (R) Corr Depth: 26,3 dB (L), 27,6 dB (R) Difference*: -46.7 dBFS (L), -47.8 dBFS (R)
david1103 0,5 dB (L), 0,4 dB Corr Depth: 25,6 dB (L), 27,4 dB (R) Difference: -45,2 dBFS (L), -46,3 dBFS (R)

Antelope Audio Eclipse 384 (Giuseppe Zaccaria)
-0.1 dB (L), -0.2 dB (R) Corr Depth: 26,3 dB (L), 27,8 dB (R) Difference*: -46.6 dBFS (L) -47.9 dBFS (R)

Universal audio Apollo 8 Quad (kmr)
0.1 dB (R) 0.1 dB (L) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -46.4 dBFS (L), -47.4 dBFS (R)

Apogee Ensemble Thunderbolt (kmr)
0,2 dB (L), 0,3 dB (R)..Corr Depth: 25,2 dB (L), 26,8 dB (R) Difference*: -45.7 dBFS (L), -47.1 dBFS (R)

Echo 2 (bezen4UK)
2,3 dB (L), 2,3 dB (R)..Corr Depth: 26,9 dB (L), 28,6 dB (R) Difference*: -45.7 dBFS (L), -47.0 dBFS (R)

Universal Audio Apollo Quad (davidbayles)
0.3dB (L), 0.3dB (R). Corr Depth: 26,5 dB (L), 28,0 dB (R). Difference*: -45.7 dBFS (L), -46.4 dBFS (R)

Focusrite Saffire PRO 40 (MusicManic)
-0.566 dB (L), 0.293 dB (R) Corr Depth: 27,8 dB (L), 32,0 dB (R) Difference*: -45.3 dBFS (L), -44.6dBFS (R)

Mackie Onyx Blackjack (kegn51)
2,9 dB (L), 2,9 dB (R) Corr Depth: 30,5 dB (L), 32,3 dB (R) Difference*: -45.1 dB (L), -44.5 dB (R)

M-Audio FireWire 410 (JonasNorberg)
0.2dB (L) 0.2dB (R)..Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference*: -44.9 dBFS (L), -46.4 dBFS (R)

M-Audio Profire 2626 (cylens)
-0.5 dB (L), -0.5 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference*: -44.8 dBFS (L), -46.1 dBFS (R)

ESI ESP1010 (Agustin Mongelli)
-0,2 dB (L), -0,2 dB (R) Corr Depth: 24,0 dB (L), 25,7 dB (R) Difference*: -44.4 dBFS (L) , -45.9 dBFS (R)

Echo Audiofire 8 non adat CS4272 (guze)
0,8 dB (L), 0,9 dB (R) Corr Depth: 26,4 dB (L), 28,2 dB (R) Difference*: -44.0 dBFS (L) -43.9 dBFS (R)

MOTU HD192 (delchambre on Audiofanzine)
1.0 dB (L), 1.0 dB (R) Corr Depth: 23,4 dB (L), 25,0 dB (R) Difference*: -43.8 dBFS (L), -45.3 dBFS (R)

ECHO INDIGO io (bezen4uk)
0,6 dB (L), 0,6 dB (R) Corr Depth: 26,1 dB (L), 27,8 dB (R) Difference*: -43,8 dB (L), -43,7 dB (R)

RME HDSPe AIO(Touf on Pragmatic Audio)
0.7 dB (L), 0.7 dB (R) Corr Depth: 23,0 dB (L), 24,5 dB (R) Difference*: -43,4 dBFS (L) , -44,7 dBFS (R)

RME Multiface II (juki, Audiofanzine)
Unbalanced, -10 dBV: 0.5 dB (L), 0.4 dB (R) Corr Depth: 22,7 dB (L), 24,4 dB (R) Difference*: -43.2 dBFS (L) -44.6 dBFS (R)
Balanced, 4 dBu: Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L) -43,0 dBFS (R)

2011 MacBook Pro (stinkyfingers)
3.5 dB (L), 3.5 dB (R) Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference*: -43.1 dBFS (L), -43.6 dBFS (R)

RME Fireface 800
genelec79: 0.3 dB (L), 0.3 dB (R) Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference*: -42.6 dBFS (R), -44.1 dBFS (L)
-10 dBV outputs to low gain inputs (syns): 15,547dB (L), 15,601dB (R)..Corr Depth: 14,5 dB (L), 15,9 dB (R) Difference: -31.9 dBFS (L), -31.6 dBFS (R)

MOTU Traveler MK1 (sinebox)
2.0 dB (L), 2.1 dB (R) Corr Depth: 22,2 dB (L), 23,9 dB (R) Difference*: -42.6 dBFS (L), -44.1 dBFS (R)

MOTU Traveler MK1 with Black Lion Mod (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference*: -41.8 dBFS (L), -43.2 dBFS (R)

MOTU UltraLite (dheming)
0.6 dB (L), 0.5 dB (R)..Corr Depth: 21,1 dB (L), 22,6 dB (R) Difference*: -41.6 dBFS (L), -42.8 dBFS (R)

Avid Mbox 3 (Coucou)
5,1 dB (L), 5,1 dB (R) Corr Depth: 21,8 dB (L), 23,6 dB (R) Difference*: -41.3 dBFS (L), -42.0 dBFS (R)

Steinberg UR824 (kegn51)
-0.4 (L), 0.2 dB (R) Corr Depth: 20,5 dB (L), 22,2 dB (R) Difference*: -41.0 dBFS (L), -42.3 dBFS (R)

Sony Vaio [email protected] (kegn51)
2.2 dB (L), 2.3 dB (R) Corr Depth: 20,4 dB (L), 22,0 dB (R) Difference*: -40.9 dBFS (L) , -42.7 dBFS (R)

Tascam DA-3000 (dheming)
0,5 dB (L), 0,4 dB (R)..Corr Depth: 22,5 dB (L), 24,0 dB (R) Difference: -40.5 dBFS (L), -40.7 dBFS (R)

Apogee Duet2 (isma)
1.0 dB (L), 1.0 dB (R) Corr Depth: 19,8 dB (L), 21,4 dB (R) Difference*: -40.2 dBFS (L) -41.6 dBFS (R)

Yamaha Steinberg MR816X (didier.brest)
1.1 dB (L), 0.5 dB (R) Corr Depth: 19,1 dB (L), 21,0 dB (R) Difference*: -39.9 dB (L), -41.2 dB (R)

Antelope Audio Orion (davidbayle)
0.3 dB (L), 0.2 dB (R) Corr Depth: 19,2 dB (L), 20,7 dB (R) Difference*: -39.6 dBFS (L), -40.9 dBFS (R)

Tascam US-144MKII (capn357)
0,2 dB (L), 0,4 dB (R)..Corr Depth: 18,6 dB (L), 20,2 dB (R) Difference*: -39.0 dBFS (L), -40.4 dBFS (R)

RME Fireface UFX (didier.brest)
XLR outputs 1-2 to TRS inputs 3-4: 0.8 dB (L), 0.7 dB (R) Corr Depth: 18,5 dB (L), 20,1 dB (R) Difference*: -39.0 dBFS (L), -40.3 dBFS (R)
TRS outputs 5-6 to TRS inputs 3-4: 0,7 dB (L), 0,7 dB (R) Corr Depth: 18,4 dB (L), 20,1 dB (R) Difference*: -38,8 dBFS (L), -40,3 dBFS (R)
outputs 1-2 to XLR preamp inputs 9-10: 0,5 dB (L), 0,4 dB (R) Corr Depth: 14,7 dB (L), 16,2 dB (R) Difference: -35,0 dBFS (L) -36,3 dBFS (R)

Focusrite Saffire Pro 24 DSP (CoolColJ), first 45s part disregarded
5,2 dB (L), 5,2 dB (R) Corr Depth: 20,2 dB (L), 22,0 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)

Apogee PSX-100 (Winston Tones)
0.8 dB (L), 0.8 dB (R) Difference*: -38.5 dBFS (L), -39.9dBFS (R)

Focusrite Forte (Coucou)
9,9 dB (L), 9,9 dB (R) Corr Depth: 18,3 dB (L), 19,8 dB (R) Difference: -38,3 dBFS (L), -39,4 dBFS (R)

Focusrite Liquid Saffire 56, Line output to microphone input + pad (Melodeath)
0,2 dB (L), 0,2 dB (R) Corr Depth: 17,9 dB (L), 19,3 dB (R) Difference: -37,9 dBFS (L) -38,9 dBFS (R)

Digidesign 003 Rack
dheming: 0,4 dB (L), 0,5 dB (R) Corr Depth: 18,6 dB (L), 20,0 dB (R) Difference: -38.3 dBFS (L), -39.1 dBFS (R).
Shptq: 0.5 dB (L), 0,5 dB (R) Corr Depth: 18,4 dB (L), 20,2 dB (R) Difference*: -38.5 dBFS (L), -39.8 dBFS (R)

Echo AudioFire 2 (dheming)
0.6 dB (L), 0.2 dB (R) Corr Depth: 20,8 dB (L), 21,9 dB (R) Difference*: -37.8 dBFS (L), -37.9 dBFS (R)

Roland UA-22 Duo Capture-Ex (zoreviy)
5,0 dB (L), 5,1 dB (R)..Corr Depth: 18,2 dB (L), 19,7 dB (R) Difference: -36.5 dBFS (L), -36.2 dBFS (R)

Lavry Blue (Touf on Pragmatic Audio)
Modes Crystal and Narrow : 0,2 dB (L), 0,2 dB (R)..Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference -36,5 dBFS (L) , -37,5 dBFS (R)
Mode Wide: Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference: -36,4 dBFS (L) , -37,6 dBFS (R)

Tascam UH-7000 (sm5)
6,8 dB (L), 6,5 dB (R) Corr Depth: 15,5 dB (L), 17,1 dB (R) Difference: -35.2 dBFS (L) -36.2 dBFS (R)

Asus 11.6" laptop (kegn51)
1,3 dB (L), 1,7 dB (R) Corr Depth: 15,5 dB (L), 17,0 dB (R) Difference: -35,2 dBFS (L) , -36,2 dBFS (R)

Edirol FA-66 (didier.brest)
1.0 dB (L), 0.6 dB (R) Corr Depth: 15,6 dB (L), 17,1 dB (R) Difference*: -34.5 dBFS (L) -35.5 dBFS (R)

Focusrite Scarlett 2i2 (EvgenyStudio)
15,5 dB (L), 15,5 dB (R)Corr Depth: 19,3 dB (L), 23,6 dB (R) Difference*: -32,4 dBFS (L), -31,7 dBFS (R)

Line 6 POD Studio UX2 (Piux)
-0,5 dB (L), -0,4 dB (R) Corr Depth: 11,0 dB (L), 12,5 dB (R) Difference: -30.6 dBFS (L) -31.6 dBFS (R)

RME Babyface (didier.brest)
0.4 dB (L), 0.5 dB (R) Corr Depth: 9,2 dB (L), 10,8 dB (R) Difference*: -29.6 dBFS (L) -30.9 dBFS (R)



External clocking


MOTU 828mkII clocked by Lucid GENx192 (MusicManic)
-0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)

Lynx Aurora 8 clocked by (cylens)
Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -55.3 dBFS (L) -56.5 dBFS (R)

RME ADI-8 DS Mk III clocked through ADAT by RME HDSP 9652 (maartenl945)
0,2 dB (L), 0,2 dB (R) Corr Depth: 32,9 dB (L), 34,4 dB (R) Difference*: -49.9 dBFS (L), -49.9 dBFS (R)

Ferrofish A16 MK-II clocked by RME HDSPe RayDAT (ST.)
0,3 dB (L), 0,3 dB (R) Corr Depth: 26,6 dB (L), 28,2 dB (R) Difference: -46.3 dBFS (L) -47.3 dBFS (R)

Apogee Rosetta 800 clocked by Universal Audio Apollo (davidbayle)
Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Apogee Rosetta 800 clocked by Antelope Orion (davidbayle)
Corr Depth: 39,6 dB (L), 41,6 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Echo Audiofire 8 with ADAT clocked by RME HDSP 9632 (schtim)
Corr Depth: 25.9 dB (L), 27.5 dB (R) Difference: -45.5 dBFS (L) -46.5 dBFS (R)

M-Audio Profire2626 clocked by RME HDSPe RayDAT (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.1 dBFS (L) -45.0 dBFS (R)

M-Audio Profire2626 clocked by Lynx Aurora8 (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.0 dBFS (L) -44.9 dBFS (R)

Behringer ADA8000 clocked by RME Fireface UFX (Krisprolls on Pragmatic Audio)
minimum gain : 13,4 dB (L), 13,4 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Diff. -44,0 dBFS (L) , -45,3 dBFS (R)
gain @ 4 : 1,2 dB (L), 1,4 dB (R)..Corr Depth: 23,9 dB (L), 25,5 dB (R) Diff. -42,3 dBFS (L) , -44,5 dBFS (R)

RME Octamic XTC clocked by RME Fireface UFX (Loicm on Pragmatic Audio) - Unbalanced phone output to
unbalanced instrument inputs 5-6, 13 dB gain: 1,0 dB (L), 1,0 dB (R)..Corr Depth: 22,8 dB (L), 24,4 dB (R) Difference*: -43.3 dBFS (L), -44.6 dBFS (R)
balanced line inputs 1-2, 10 dB gain: 4,5 dB (L), 4,5 dB (R)..Corr Depth: 19,4 dB (L), 21,0 dB (R) Difference*: -39.8 dBFS (L), -41.2 dBFS (R)

Universal Audio Apollo clocked by Apogee Rosetta (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

Universal Audio Apollo clocked by Antelope Orion (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

RME Fireface 800 clocked by Yamaha 02R (genelec79)
Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L), -43,0 dBFS (R)

Motu Traveler MK1 clocked by Lynx Aurora 16 or Black Lion Micro Clock mk1 (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference: -41.1 dBFS (L), -42.1 dBFS (R)



Couples of different converters


Synchronised mode ('master' indicates which converter delivers the master clock)

Forssell MDAC-4 ----> Focusrite Blue 245 master, (funkakuchi on Pragmatic Audio = funka on Gearslutz)
Focusrite sensitivity 0 dBFS = 16 dBu
0,1 dB (L), 0,0 dB (R) Corr Depth: 64.7 dB (L), 65.7 dB (R) Difference: -77.1 dBFS (L) -78.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 10
4.0 dB (L), 4.0 dB (R) Corr Depth: 66.9 dB (L), 69.8 dB (R) Difference*: -81.2 dBFS (L) -81.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 53
3.9 dB (L) 4.0 dB (R) Corr Depth: 69,4 dB (L), 71,5 dB (R) Difference*: -80.1 dB (L), -80.1 dB (R)

SPL Madison ---> Texas Instrument PCM4222 Evaluation Module master (living sounds) . Details of the clocking.
0,2 dB (L), 0,2 dB (R) Corr Depth: 78,7 dB (L), 81,2 dB (R) Difference*: -80.1 dBFS, -80.1 dBFS

MSB Platinum IV Plus DAC ---> MSB Studio ADC master (DUJS)
4,9 dB (L), 4,9 dB (R) Corr Depth: 62,8 dB (L), 63,4 dB (R) Difference: -77,7 dBFS (L), -77,4 dBFS (R)

ReQuest Audio, The Beast DAC master ---> MSB Platinum Studio ADC (DUJS)
Corr Depth: 62,0 dB (L), 63,4 dB (R) Difference: -76,9 dBFS (L), -76,3 dBFS (R)

Swissonic DA24 MkII ---> Texas Instrument PCM4222 Evaluation Module master + DC offset removal (living sounds)
0,1 dB (L), 0,1 dB (R) Corr Depth: 82,6 dB (L), 85,5 dB (R) Difference*: -73.0 dBFS (L), -73.8 dBFS (R)

ESI [email protected] XTe DAC ---> MSB Studio ADC master (DUJS)
Corr Depth: 46,0 dB (L), 48,0 dB (R) Difference: -65,3 dBFS (L), -66,7 dBFS (R)

Forsell MADA-2 ---> Antelope Pure2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

Swissonic DA24 MkII ---> Black Lion Audio Sparrow mkII (living sounds)
0,6 dB (L), 0,6 dB (R) Corr Depth: 36,0 dB (L), 37,6 dB (R) Difference*: -56.4 dBFS (L) , -57.8 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC master (dheming)
1,1 dB (L), 1,0 dB (R)..Corr Depth: 35,5 dB (L), 37,0 dB (R) Difference: -55,2 dBFS (L), -56,3 dBFS (R)

Metric Halo LIO-8 ---> Burl B2 Bomber ADC (Antoine Fabi)
LIO-8 or B2 WC master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R), Difference: -54.8 dBFS (L), -55,7 dBFS (R), Difference* (B2 WC master): -55.7 dBFS (L), -57.0 dBFS (R)
B2 AES master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R) Difference: -54.8 dBFS (L), -55,6 dBFS (R)

RME Fireface 400 ---> MOTU 828mkII, 2 tests: RME or MOTU clock (MusicManic)
5,1 dB (L), 5,2 dB (R) Corr Depth: 35,1 dB (L), 36,7 dB (R) Difference: -54.7 dBFS (L), -55.7dBFS (R)

Forsell MDAC-4 ---> Studer D19 master (funkakuchi on Pragmatic Audio)
0,1 dB (L), 0,1 dB (R) Corr Depth: 34,3 dB (L), 36,2 dB (R) Difference: -53.9 dBFS (L), -55.3 dBFS (R)

Lynx Aurora 16 ---> Focusrite Blue 245 master (funkakuchi on Pragamatic Audio)
0,04 dB (L), 0,02 dB (R) Corr Depth: 63,4 dB (L), 62,2 dB (R) Difference*: -53.4 dBFS(L) -52.5 dBFS(R)

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module master (living sounds)
Synchro lock off: 0.1 dB (L), 0.1 dB (R) Corr Depth: 65,6 dB (L), 63,8 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)
Synchro lock on: 0.311 dB (L), 0.317 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)

Motu 24Ao ---> Lynx Aurora 8 (leolycra)
Motu master: -0.2 dB (L), -0.2 dB (R) Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R) Difference*: -50.2 dBFS (L), -49.7 dBFS (R)
Lynx master: -0,2 dB (L), -0,2 dB (R)..Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R)

Antelope Pure2 ---> Forsell MADA-2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 29.7 dB (L), 31.3 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Lavry DA924 ---> Lavry AD122-96MkII clocked by Antelope Isochrone Trinity + Antelope Isochrone 10M (Winston Tones)
0,0 dB (L), 0,0 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference*: -50.0 dBFS (L), -51.3 dBFS (R)

Forsell MDAC-4 ---> Forsell MADC-2 (first version) master (funkakuchi on Pragmatic Audio)
0,5dB (L), 0,5 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference: -49,2 dB (L), -50,3 dB (R)

Focusrite Saffire PRO 40 ---> MOTU 828mkII, 2 tests: Focusrite or MOTU clock (MusicManic)
2,4 dB (L), 2,4 dB (R) Corr Depth: 34,2 dB (L), 36,0 dB (R) Difference: -46.6 dBFS (L), -46.6dBFS (R)

Audient iD22 ---> Behringer ADA8200 master (Hardtailed)
2,0 dB (L), 2,5 dB (R)..Corr Depth: 28,4 dB (L), 30,6 dB (R) Difference: -46.5 dBFS (L), -48.1 dBFS (R)

Tascaml UH-7000 ---> Lynx Hilo master (sm5)
1,0 dB (L), 1,0 dB (R)..Corr Depth: 36,7 dB (L), 38,5 dB (R) Difference: -46.2 dBFS (L), -45.9 dBFS (R)

Emotiva XDA-1 ---> Prism Lyra 1 (capn357)
0,0 dB (L), 0,0 dB (R)..Corr Depth: 25,8 dB (L), 27,7 dB (R) Difference: -44.7 dBFS (L), -45.5 dBFS (R)

MOTU 828mkII ---> RME Fireface 400, 2 tests: MOTU or RME clock (MusicManic)
0,3 dB (L), 0,5 dB (R) Corr Depth: 24,5 dB (L), 26,3 dB (R) Difference: -44.1 dBFS (L), -45.3dBFS (R)

Behringer ADA8200 ---> Audient iD22 master (Hardtailed)
2,8 dB (L), 2,9 dB (R)..Corr Depth: 28,5 dB (L), 30,1 dB (R) Difference: -42.9 dBFS (L), -42.8 dBFS (R)

MOTU 828mkII ---> Focusrite Saffire PRO 40, 2 tests: MOTU / Focusrite clock (MusicManic)
1,3 dB (L), 1,8 dB (R)Corr Depth: 25,9 dB / 25,8 (L), 29,9 dB (R) Difference: -42.2 / -42.1 dBFS (L), -44.4dBFS (R)

Tascam-DA3000 ---> Mytek Stereo 192 ADC master (dheming)
3,4 dB (L), 3,3 dB (R)..Corr Depth: 27,0 dB (L), 28,3 dB (R) Difference: -39.9 dBFS (L), -39.4 dBFS (R)

Digidesign Rack ---> Mytek Stereo 192 ADC master (dheming)
0,7 dB (L), 0,7 dB (R)..Corr Depth: 17,7 dB (L), 19,0 dB (R) Difference: -38.1 dBFS (L), -39.1 dBFS (R)

Atoll DAC200 --> RME Babyface master (didier.brest)
Corr Depth: 10,1 dB (L), 11,9 dB (R) Difference: -30,0 dBFS (L) -31.3 dBFS (R)

RME Babyface --> RME Fireface 400 (didier.brest)
Corr Depth: 16,6 dB (L), 18,4 dB (R) Difference: -29,4 dBFS (L), -28,8 dBFS (R)

Benchmark DAC1 phone output ---> Echo Audiofire 4 (david1103)
Corr Depth: 10,4 dB (L), 10,2 dB (R) Difference: -22,6 dBFS (L), -23,1 dBFS (R)

Unsynchronized mode. The DA and AD converters run each on its own clock. Measurement performed with sample rate drift correction activated in Audio DiffMaker and limited to the first half of the sample. Because the RMS level of this first half is 1 dB lower than the RMS level of the full-size sample, one must increase the difference RMS level figures by 1 dB for comparison with the synchronized mode.

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module (living sounds)
Aurora clock at 44.1 kHz: 0.3 dB (L), 0.3 dB (R), rate adj=-0,0749 ppm. Corr Depth: 61,8 dB (L), 59,3 dB (R) Difference*: -54.8 dBFS (L), -53.9 dBFS (R)
Aurora clock at 88.2 kHz: 0.3 dB (L), 0.3 dB (R). rate adj=1,0352 ppm.Corr Depth: 65,9 dB (L), 69,9 dB (R) Difference*: -65.4 dBFS (L), -66.2 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC (dheming)
4,1 dB (L), 4,1 dB (R). rate adj=4,4143 ppm.Corr Depth: 36,1 dB (L), 38,1 dB (R) Difference: -56.9 dBFS (L), -58.2 dBFS (R)

Forsell MDAC-4 ---> Alesis Masterlink ML-9600 (funkakuchi on Pragmatic Audio)
1,1 dB (L), 1,2 dB (R). rate adj=7,8413 ppm.Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference: -55.3 dBFS (L), -56.5 dBFS (R)

Lavry DA11 ---> Benchmark ADC1 (non USB, 2005) ---> Tascam US-366 (usernaim)
4,2 dB (L), 3,7 dB (R). rate adj=1,2144 ppm.Corr Depth: 33,3 dB (L), 38,7 dB (R) Difference: -52.2 dBFS (L), -57.8 dBFS (R)

Musical Fidelity V-Link ---> Benchmark DAC1 ---> TC Electronic Konnekt 8 (usernaim)
5,4 dB (L), 4,9 dB (R). rate adj=-1,5532 ppm.Corr Depth: 30,1 dB (L), 32,2 dB (R) Difference: -50.8 dBFS (L), -52.1 dBFS (R)

BenchmarkDAC2 HGC ---> Digidesign Rack (dheming)
5,5 dB (L), 5,5 dB (R). Rate adjustment unnecessary.Corr Depth: 35,5 dB (L), 37,9 dB (R) Difference: -49.4 dBFS (L), -49.2 dBFS (R)

JDS Labs ODAC ---> Echo AudioFire 4 (syns)
10,2 dB (L), 10,2 dB (R). rate adj=8,1413 ppm.Corr Depth: 26,5 dB (L), 28,6 dB (R) Difference: -47.2 dBFS (L), -48.6 dBFS (R)

MOTU Ultralite ---> Mytek Stereo 192 ADC (dheming)

1,5 dB (L), 1,5 dB (R). rate adj=0,0474 ppm.Corr Depth: 36,8 dB (L), 39,1 dB (R) Difference*: -46.9 dBFS (L), -46.2 dBFS (R)

ATOLL DAC 200 --> RME Fireface UFX (didier.brest)
2,3 dB (L), 2,4 dB (R). rate adj=8,8289 ppm.Corr Depth: 23,2 dB (L), 25,3 dB (R) Difference: -44,0 dBFS (L), -45,4 dBFS (R)

JDS Labs ODAC ---> RME Fireface 800 (syns)
5,3 dB (L), 5,3 dB (R). rate adj=-1,5467 ppm.Corr Depth: 23,2 dB (L), 25,5 dB (R) Difference: -43.8 dBFS (L), -45.3 dBFS (R)

Benchmark DAC2 HGC ---> Marantz PMD661 (dheming)
4,1 dB (L), 4,5 dB (R). rate adj=14,8525 ppm.Corr Depth: 23,0 dB (L), 25,1 dB (R) Difference: -43.8 dBFS (L), -45.2 dBFS (R)

Tascam DA-3000 ---> Mytek Stereo 192 ADC (dheming)
3,4 dB (L), 3,3 dB (R). rate adj=0,0426 ppm.Corr Depth: 27,7 dB (L), 29,3 dB (R) Difference*: -42.8 dBFS (L), -42.7 dBFS (R)

Benchmark DAC2 HGC ---> Tascam DA-3000 (dheming)
3,1 dB (L), 3,0 dB (R). rate adj=0,0750 ppm.Corr Depth: 24,0 dB (L), 25,9 dB (R) Difference: -42.5 dBFS (L), -43.0 dBFS (R)

Benchmark DAC2 HGC ---> MOTU UltraLite (dheming)
5,1 dB (L), 5,0 dB (R). rate adj=0,0102 ppm.Corr Depth: 21,7 dB (L), 23,6 dB (R) Difference: -42.3 dBFS (L), -43.6 dBFS (R)

Benchmark DAC2 HGC ---> (dheming)
8,3 dB (L), 8,2 dB (R). rate adj=-8,6552 ppm.Corr Depth: 16,4 dB (L), 18,5 dB (R) Difference: -36.9 dBFS (L), -38.3 dBFS (R)

ATOLL DAC 200 --> RME Babyface (didier.brest)
Rate adj=-4,3193 ppm.Corr Depth: 10,8 dB (L), 13,0 dB (R) Difference: -31,5 dBFS (L), -33,1 dBFS

For contributing to this test :
- download the test 2 x 44 kHz x 24 bit wav file (31 Mb),
- cable link the 2 DAC outputs to 2 ADC inputs,
- play back the test file to the DAC outputs and record from the ADC inputs,
- upload to mediafire or any other file sharing site the 2 x 44 kHz x 24 bit wav file from this recording and
- provide the download link here with information about ADC and DAC identities.
Your contribution is welcome even if your converter is already in the above list.
Thank you !

Last edited by didier.brest; 3rd January 2016 at 12:35 PM..
Old 1st January 2016
  #1238
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Measurement refinig in Matlab:

MOTU Track16
ADM: -1,732msec, 6,964dB (L), 6,877dB (R)..Corr Depth: 30,0 dB (L), 31,5 dB (R) Difference: -50,4 dBFS (L), -51,6 dBFS (R)
Matlab: -1.73206 ms, 6.9650 dB (L), 6.8770 dB (R), Difference: -50.4 dBFS (L), -51.6 dBFS (R)

Antelope Audio Eclipse 384
ADM: -19,46msec, -0,142dB (L), -0,210dB (R)..Corr Depth: 26,3 dB (L), 27,8 dB (R) Difference: -45.8 dBFS (L) -46.9 dBFS (R)
Matlab: -19,46340 ms, -0.1411 dB (L), -0.2109 dB (R) Difference*: -46.6 dBFS (L) -47.9 dBFS (R)

Echo Audiofire 4
parameters: -8,133msec, 0,379dB (L), 0,398dB (R)..Corr Depth: 26,3 dB (L), 27,6 dB (R) Difference: -45.7 dBFS (L), -46.6 dBFS (R)
Matlab: -8.13659 ms, 0.389 dB (L), 0.401 dB (R), Difference: -46.7 dBFS (L), -47.8 dBFS (R)

Steinberg UR824
ADM: -2,122usec, -0,276dB (L), 0,224dB (R)..Corr Depth: 20,5 dB (L), 22,2 dB (R) Difference: -45,0 dBFS (L), -46,1 dBFS (R)
Matlab: -8.01 µs, -0.4167 dB (L), 0.2437 dB (R) Difference: -41.0 dBFS (L), -42.3 dBFS (R)
The time offset and gain corrections delivered by ADM do not achieve a so low difference level as initially measured from the ADM difference file. I don't kow what happened here.

Metric Halo ULN-2
ADM: 4,158msec, 5,395dB (L), 5,364dB (R)..Corr Depth: 25,3 dB (L), 26,9 dB (R) Diff: -44,9 dB (L), 46,0 dB (R)
Matlab: 4.15490 ms, 5.3881 dB (L), 5.3580 dB (R) Difference: -45.7 dBFS (L), -47.1 dBFS (R)

M-Audio FireWire 410
ADM: -5,803usec, 0,231dB (L), 0,239dB (R)..Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference: -44.1 dBFS (L) -45.3 dBFS (R)
Matlab: -9.62 µs, 0.2297 dB (L), 0.2345 dB (R) Difference: -44.9 dBFS (L), -46.4 dBFS (R)

MOTU HD192
ADM: 7,321usec, 1,022dB (L), 1,011dB (R)..Corr Depth: 23,4 dB (L), 25,0 dB (R) Difference: -43.1 dBFS (L), -44.2 dBFS (R)
Matlab: 3.15 µs, 1.0152 dB (L), 1.0041 dB (R) Difference: -43.8 dBFS (L), -45.3 dBFS (R)

RME HDSPe AIO
ADM: -1,511msec, 0,664dB (L), 0,666dB (R)..Corr Depth: 23,0 dB (L), 24,5 dB (R) Diff. -42,7 dBFS (L) , -43,6 dBFS (R)
Matlab: -1.51521 ms, 0.6638 dB (L),0.6640 dB (R), Difference -43,4 dBFS (L) , -44,7 dBFS (R)

RME Multiface II - Unbalanced ouptputs
ADM: -2,507msec, 0,462dB (L), 0,383dB (R)..Corr Depth: 22,7 dB (L), 24,4 dB (R) Diff -42,4 dBFS (L) -43,5 dBFS (R)
Matlab: -2.51176 ms, 0.4530 dB (L), 0.3745 dB (R) Difference -43.2 dBFS (L) -44.6 dBFS (R)

RME Fireface 800
ADM: -2sec, 0,265dB (L), 0,325dB (R)..Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L), -43,0 dBFS (R)
Matlab: -1.99999487 s, 0.2573 dB (L), 0.3171 dB (R), Difference: -42.6 dBFS (R), -44.1 dBFS (L)

MOTU Traveler MK1
ADM: -194,1msec, 1,997dB (L), 2,086dB (R)..Corr Depth: 22,2 dB (L), 23,9 dB (R) Difference: -41,8 dBFS (L), -42,9 dBFS (R)
Matlab: -0.19406491 ms 2.0127 dB (L), 2.0889 dB (R) Difference: -42.6 dBFS (L), -44.1 dBFS (R)

2011 MacBook Pro
ADM: -1,621msec, 3,495dB (L), 3,474dB (R)..Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference: -41.8 dBFS (L), -42.4 dBFS (R)
Matlab: -1.61681 ms, 3.4859 dB (L), 3.4662 dB (R) Difference: -43.1 dBFS (L), -43.6 dBFS (R)

MOTU UltraLite
ADM: -1,214msec, 0,557dB (L), 0,490dB (R)..Corr Depth: 21,1 dB (L), 22,6 dB (R) Difference: -40.7 dBFS (L), -41.8 dBFS (R)
Matlab: -1.21983 ms, 0.549 dB (L), 0.4810 dB (R), Difference: -41.6 dBFS (L), -42.8 dBFS (R)

Sony Vaio [email protected]
ADM: -1,251msec, 2,218dB (L), 2,247dB (R)..Wtd Depth: -23,2 dB (L), -25,2 dB (R) Diff. -38,9 dBFS (L) , -40,0 dBFS (R)
Matlab: 1.25711 ms, 2.1996 dB (L), 2.3336 dB (R) Diff. -40.9 dBFS (L) , -42.7 dBFS (R)

Antelope Audio Orion
ADM: -37,48usec, 0,283dB (L), 0,224dB (R)..Corr Depth: 19,2 dB (L), 20,7 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)
Matlab: -44.38 µs, 0.2642 dB (L), 0.2080 dB (R) Difference: -39.6 dBFS (L), -40.9 dBFS (R)

The list of results has been updated.

Last edited by didier.brest; 6th January 2016 at 10:42 AM..
Old 2nd January 2016
  #1239
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Quote:
Originally Posted by kas_lar View Post
Is it really true that the main outputs of the ID22 has up to 0.1 dB in level difference between left and right channels?
I thank you for your contribution and I apologize for having missed your question.
Matlab measurement for outputs 1&2:
-2.00045763 s, -0.1417 dB (L) -0.0646 dB (R) Difference: -51.6 dBFS (L), -52.8 dBFS (R). L&R discrepancy is 0.08 dB.
Matlab measurement for outputs 3&4:
-2.00045757 s, 0.0575 dB (L) 0.0570 dB (R) Difference: -51.4 dBFS (L), -53.0 dBFS (R). L&R discrepancy is 0.0005 dB.
Old 8th January 2016
  #1240
Here for the gear
 

Hi everybody,

I’ve been looking to get a new interface mostly as an upgrade in conversion. I have a Focusrite Saffire Pro 40 which seems to be widely regarded as a pretty bad unit when it comes to conversion, but these tests have me second guessing my options.

It seems that some units I’ve seen lots of experienced users praising for their sound quality, the quality of their conversion, or at least being described as a big upgrade from the Saffire series, actually have “corr depth” ratings in these tests that are lower than the Saffire Pro 40. For instance:

(For reference, the Pro 40 numbers are: -0.566 dB (L), 0.293 dB (R) Corr Depth: 27,8 dB (L), 32,0 dB (R) Difference*: -45.3 dBFS (L), -44.6dBFS (R))…

Tascam UH-7000 (sm5)
6,8 dB (L), 6,5 dB (R) Corr Depth: 15,5 dB (L), 17,1 dB (R) Difference: -35.2 dBFS (L) -36.2 dBFS (R)

Steinberg UR824 (kegn51)
-0,3 (L), 0,2 dB (R) Corr Depth: 20,5 dB (L), 22,2 dB (R) Difference: -45.0 dBFS (L), -46.1 dBFS (R)

RME Babyface (didier.brest)
0.4 dB (L), 0.5 dB (R) Corr Depth: 9,2 dB (L), 10,8 dB (R) Difference*: -29.6 dBFS (L) -30.9 dBFS (R)

Apogee Duet2 (isma)
1.0 dB (L), 1.0 dB (R) Corr Depth: 19,8 dB (L), 21,4 dB (R) Difference*: -40.2 dBFS (L) -41.6 dBFS (R)

Universal Audio Apollo Quad (davidbayles)
0.3dB (L), 0.3dB (R). Corr Depth: 26,5 dB (L), 28,0 dB (R). Difference*: -45.7 dBFS (L), -46.4 dBFS (R)

Even some units that as far as I understand, many users would consider to be more high-end have core depth ratings below those of the Pro 40:

Lavry Blue (Touf on Pragmatic Audio)
Modes Crystal and Narrow : 0,2 dB (L), 0,2 dB (R)..Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference -36,5 dBFS (L) , -37,5 dBFS (R)
Mode Wide: Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference: -36,4 dBFS (L) , -37,6 dBFS (R)

Antelope Audio Orion (davidbayle)
Corr Depth: 19,2 dB (L), 20,7 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)

Antelope Audio Eclipse 384 (Giuseppe Zaccaria)
-0,1 dB (L), -0,21 B (R) Corr Depth: 26,3 dB (L), 27,8 dB (R) Difference: -45.8 dBFS (L) -46.9 dBFS (R)


This has me wondering what’s going on. Is there something in the “Difference”, or other numbers that might explain the apparent discrepancy between user’s subjective impressions of the conversion quality of these units vs. the actual accuracy of their conversion insofar as it’s captured by the corr depth rating?

It seems to make sense that corr depth in these tests, as I understand it, represents an accurate measure of the transparency of a trip through a unit’s AD and DA stages. Does this mean the lower corr depth numbers for the units above, all widely considered to have better conversion than the Saffire series, suggest that actual high transparency is not well correlated with a subjective perception of high quality of conversion or am I misunderstanding something?... On the other hand, I also see many high-end units coming in right at the top where you would expect them...

If I understand correctly, then these results show that there must be some factors other than actual transparency effecting people's perception of the sound quality of these units. I'm not suggesting that the nicer units don't actually sound nicer, I expect that they do, though I don't have any experience with them myself. I just wonder what could be creating this impression of better sound quality if these units are actually less transparent than subjectively worse sounding units.

Would be interested in anyone’s thoughts on these questions, and any more general opinions from users who are experienced with a wide range of gear on the correlation or lack of correlation between subjective perception of conversion quality and measurements like these, and what can ultimately be gleaned from these measurements.

Thank you for all the information everyone
Old 26th January 2016
  #1241
Here for the gear
 

Hi

I have an EMU 1616m and here is the loopback wave at 24 bits 44Khz. https://www.mediafire.com/?kjp8fxw4n7yr11b

I have also ran the Audio DiffMaker and here is what I got

parameters: -129.9usec, 9.685dB (L), 9.613dB (R)..Corr Depth: 26.3 dB (L), 28.4 dB (R)

Thanks
Old 26th January 2016
  #1242
Lives for gear
 

Eggbread, regarding the numbers some of it could be due to harmonic distortion. A unit with higher distortion might be perceived as more pleasant sounding, but it would be technically less accurate with worse correlation depth measurements.
Old 26th January 2016
  #1243
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Result from E-MU 1616M, tested by vechung:
ADM: -129,9usec, 9,685dB (L), 9,613dB (R)..Corr Depth: 26,3 dB (L), 28,4 dB (R) Difference: -42.5 dBFS (L), -42.9 dBFS (R)
Matlab: -136.89 µs 9.6887 dB (L) -9.6131 (R) Difference: -45.5 dBFS (L), -46.5 dBFS (R)

DA-AD loops from this wav file evaluated by means of Audio DiffMaker.

'Difference' indicates RMS level figures measured in Wavelab from the difference file delivered by Audio DiffMaker.
'Difference*' indicates RMS level figures got from a difference file generated in Matlab after refining the time offset and gain figures provided by Audio DiffMaker in order to get the lowest difference level. Hence the 'Difference*' figures are lower than the 'Difference' figures.

Read also this about the test method.
See at the end of this post how to contribute to the test.

AD-DA converters performing from their internal clock

Lynx Hilo
schizoide on Pragmatic Audio: 0.5 dB (L), 0.5 dB (R)..Corr Depth: 56,5 dB (L), 57,6 dB (R) Difference*: -72.3 dBFS, -71.2 dBFS
CoolColJ - 6 last second part disregarded: -0,1 dB (L), -0,1 dB (R) Corr Depth: 41,8 dB (L), 43,7 dB (R), Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
sm5, line in and line out trims set at +0: -0.1 dB (L), -0.1 dB (R)..Corr Depth: 41,8 dB (L), 43,6 dB (R) Difference*: -58.9 dBFS (L), -59.0 dBFS (R)
sm5, level line in and line out trims set at +24: 0.0 dB (L), 0.0 dB (R)..Corr Depth: 41,8 dB (L), 43,6 RMS Difference*: -59.1 dBFS (L), -59.1 dBFS (R)
Agustin Mongelli, Line out: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Phone out: 0.0 dB (L), 0.1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Line Out Trim 0dBV, Line In Trim 2dBV: 1,9 B (L), 1,9 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)

Merging Technologies Hapi
ADA8 ---> ADA8 (ljudatervinning): 0.391dB (L), 0.376dB (R) Corr Depth: 38,5 dB (L), 40,1 dB (R) Difference*: -58,9 dBFS (L), -60,3 dBFS (R)
DA8P --> AD8DP (Touf on Pragmatic Audio)
0.08 dB (L), 0.07 dB (R) Corr Depth: 35,9 dB (L), 37,2 dB (R) Difference*: -53.0 dBFS (L), -52.8 dBFS (R)
ADA8 ---> AD8D (ljudatervinning) 0,2 dB (L), 0,2 dB (R)..Corr Depth: 36,2 dB (L), 37,6 dB (R) Difference*: -53.1 dBFS (L), -53.0 dBFS (R)

Antelope Pure2
Touf on Pragmatic Audio: -0.0 dB (L), -0,2 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)
MattGray: 0,0 dB (L), -0,0 dB (R)..Corr Depth: 36,3 dB (L), 37.9 dB (R) Difference*: -56.8 dB (L), -58.2 dB (R)

Metric Halo LIO-8
(BrianVengeance): 3.0 dB (L), 3.0 dB (R)..Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi: 3,4 dB (L), 3,4 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi, out +3 dB: 0.4 dB (L), 0.5 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

MOTU 2408mk3 (ram75)
0,1 dB (L), 0,1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56,7 dBFS (L), -58,1 dBFS (R)

MOTU 828mkII
laurend: 6.1 dB (L), 6.2 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
MusicManic: -0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
syns: 6.1 dB (L), 6.1 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference* -56.7 dBFS (L) , -58.0 dBFS (R)
capn357 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,4 dB (L), 38,0 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

MOTU 24I/O
Zam on Pragmatic Audio: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.0 dBFS (R)
ram75: 0.1 dB (L), 0.1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

Mytek 8 x 192 AD/DA (MainTime)
0,4 dB (L), 0,5 dB (R) Corr Depth: 35,3 dB (L), 36,9 dB (R) Difference*: -55.8 dBFS (L) -57.1 dBFS (R)

Lynx Aurora 8 (cylens)
-0,1 dB (L), -0,1 dB (R) Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference*: -54.5 dBFS (L) -55.6 dBFS (R)

Lynx Aurora 16
Touf on Pragmatic Audio: -0,1dB (L), -0,1dB (R)..Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -54,2 dBFS (L) , -55,1 dBFS (R)
antichef: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference*: -54.5 dBFS (L), -55.5 dBFS (R)

Edirol UA-1000 (gollumsluvslave)
0.2 dB (L), 0.2 dB (R) Corr Depth: 34,0 dB (L), 35,6 dB (R) Difference*: -54.4 dBFS (L), -55.7 dBFS (R)

TC Electronic Konnekt 48
DownSideUp: 13.1 dB (L), 13.2 dB (R)..Corr Depth: 33,2 dB (L), 34,8 dB (R) Difference*: -53.6 dBFS (L) -54.9 dBFS (R)
TC-konnekt48 Output_input 5+6
kas_lar 0.1 dB (L), 0.1 dB (R)..Corr Depth: 33,1 dB (L), 34,7 dB (R) Difference*: -53.4 dBFS (L), -54.7 dBFS (R)

Lynx L22 (bezen4uk)
2,9 dB (L), 2,9 dB (R)..Corr Depth: 33,0 dB (L), 34,7 dB (R) Difference*: -53.5 dBFS (L), -54.7 dBFS (R)

ESI [email protected] (Agustin Mongelli)
5.6dB (L), 5.7dB (R) Corr Depth: 33,0 dB (L), 34,6 dB (R) Difference*: -53.4 dBFS (L), -54.7 dBFS (R)

Lynx LynxTWO-B
bezen4uk: 2,8 dB (L), 2,8 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.2 dBFS (L) , -54.5 dBFS (R)
mattiasnyc: -0,03 dB (L), -0,04 dB (R) Corr Depth: 32,9 dB (L), 34,5 dB (R) Difference: -52.8 dBFS (L) , -53.4 dBFS (R)

ESI [email protected] XTe
DUJS: -0.3 dB (L), -0.3 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.1 dBFS (L), -54.5 dBFS (R)
edneysis: 0.5 dB (L), 0.5 dB (R)..Corr Depth: 29,2 dB (L), 30,8 dB (R) Difference*: -49.7 dBFS (L), -51.0 dBFS (R)


Lynx E44 (LTrain)
-0.0 dB (L), -0.0 dB (R) Corr Depth: 32,3 dB (L), 34,1 dB (R) Difference*: -52.5 dBFS (L), -53.9 dBFS (R)

TC Electronics Impact Twin
AndG
: 0.5 dB (L), 0.8 dB (R) Corr Depth: 32,0 dB (L), 33,6 dB (R) Difference*: -52.5 dBFS (L) -53.8 dBFS (R)
Coucou: -0.1 dB (L), -0.0 dB (R) Corr Depth: 29,1 dB (L), 30,4 dB (R) Difference: -48,9 dBFS (L), -49,2 dBFS (R)
ben: Corr Depth: 29,1 dB (L), 30,8 dB (R) Difference: -48,7 dBFS (L), -49,7 dBFS (R)

RME HDSP 9632 (schtim)
0.5 dB (L), 0.5 dB (R) Corr Depth: 31.4 dB (L), 33.0 dB (R) Difference*: -51.9 dBFS (L) -53.2 dBFS (R)

RME ADI-8 QS (lou latch)
0.0 dB (L), 0.0 dB (R) Corr Depth: 31,4 dB (L), 32,9 dB (R) Difference*: -51.7 dBFS (L), -52.7 dBFS (R)
5.0 dB (L), 5.0 dB (R) Corr Depth: 31,4 dB (L), 33,0 dB (R) Difference*: -51.7 dBFS (L), -52.9 dBFS (R)

Audient iD22 through insert inputs
andyfromHH: 0.0 dB (L), 0.1 dB (R) Corr Depth: 32,4 dB (L), 34,3 dB (R) Difference*: -45.4 dBFS (L), -46.6 dBFS (R)
Hardtailed (outputs 3-4): -0,089dB (L), -0,091dB (R)..Corr Depth: 31,1 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (L), -52.4 dBFS (R)
kas_lar, outputs 1&2: -0,1 dB (L), -0,1B (R)..Corr Depth: 31,3 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (L), -52.8 dBFS (R). Outputs 3&4: 0.0 dB (L), 0.0 dB (R)..Corr Depth: 31,1 dB (L), 32,9 dB (R) Difference*: -51.4 dBFS (L), -53.0 dBFS (R)

Prism Lyra 1 (capn357)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,3 dB (L), 33,1 dB (R) Difference*: -51.6 dBFS (L), -53.0 dBFS (R)

Prism Lyra 2 (Shptq)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,0 dB (L), 32,6 dB (R) Difference*: -51.3 dBFS (L), -52.6 dBFS (R)

Prism Orpheus (MainTime)
0,1 dB (L), 0,1 dB (R) Corr Depth: 30,8 dB (L), 32,4 dB (R) Difference*: -51.1 dBFS (L) -52.4 dBFS (R)

RME Fireface 400
didier.brest: 0.3 dB (L), 0.3 dB (R) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -50.7 dBFS (L) -52.0 dBFS (R)
MusicManic: 0.2 dB (L), 0.3 dB (R) Corr Depth: 24,0 dB (L), 25,8 dB (R) Difference*: -44.4 dBFS (L) -46.0 dBFS (R)

MOTU Track16 (EvgenyStudio)
7.0 dB (L), 6.9 dB Corr Depth: 30,0 dB (L), 31,5 dB (R) Difference*: -50,4 dBFS (L), -51,6 dBFS (R)
MOTU Track16

Forsell MADA-2
vjm through funkakuchi on Pragmatic Audio) 3,6 dB (L), 4,1 dB (R) Corr Depth: 27,8 dB (L), 30,9 dB (R) Difference* -50.3 dBFS (L) , -51.7 dBFS (R)
MattGray (rev. a unit): 0.0 dB (L), 0.0 dB (R)..Corr Depth: 29,6 dB (L), 31,2 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Apogee Symphony I/O (Ajantis)
0,0 dB (L), 0,0 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51,2 dBFS (L), -50,1 dBFS dB (R)

MOTU 16A (davidbayles)
728.5 µs, 1.518 dB (L) 1.513 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51.1 dBFS (L), -50.1 dBFS (R)

Apogee Rosetta 800 (davidbayle)
0.2 dB (L), 0.2 dB (R) Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference*: -50.0 dBFS (L), -50.9 dBFS (R)

Apogee Rosetta 200 (Winston Tones)

-0.1 dB (L), -0.0 dB (R) Corr Depth: 37,9 dB (L), 39,8 dB (R) Difference*: -50.7 dB (L), -50.0 dB (R)

Prism ADA-8XR (shelterr)
-0,03 dB (L), -0,03 dB (R) Corr Depth: 37,5 dB (L), 39,5 dB (R) Difference*: -50,7 dBFS(L) -50,0 dBFS(R)

Crane Song HEDD-92 (Spartacus)
0.5 dB (L), 0.5 dB (R) Corr Depth: 36,6 dB (L), 38,4 dB (R) Difference*: -50.7 dBFS (L) , -50.0 dBFS (R)

Echo Audiofire 12 (guze)
0.7 dB (L), 0.7 dB (R) Corr Depth: 28,8 dB (L), 30,1 dB (R) Difference*: -49.2 dBFS (L) -50.3 dBFS (R)

MOTU 828 MK3 hybrid (South Paul)
4.5 dB (L), 4.4 dB (R) Corr Depth: 30,0 dB (L), 31,6 dB (R) Difference*: -48.3 dB (L), 48.4 dB (R)

Avid HD I/O 16x16 Analog (Pezzn)
-0,0 dB (L), -0,0 dB (R)..Corr Depth: 28,8 dB (L), 30,6 dB (R) Difference*: -47.7 dBFS (L), -48.1 dBFS (R)

SPL Madison (living sounds) - Early production unit
0.0 dB (L), 0.0 dB (R) Corr Depth: 27,3 dB (L), 28,9 dB (R) Difference*: -47.6 dBFS (L), -49.0 dBFS (R)

SSL Alpha-Link MX 16-4 (Sankly)
0,1 dB (L), 0,1 dB (R)..Corr Depth: 27,2 dB (L), 28,8 dB (R) Difference*: -47.6 dBFS, -48.9 dBFS

Dell Optiplex 755 (Winston Tones)
Front jack analog out to rear mini-jack line in 1.2 dB (L), 1.3 dB (R)..Corr Depth: 27,0 dB (L), 28,6 dB (R) Difference*: -47.4 dBFS (L) , -48.8 dBFS (R)
Front jacks: 1,7 dB (L), 1,3 dB (R)..Corr Depth: 25,3 dB (L), 26,8 dB (R) Difference: -44.8 dBFS (L) , -45.9 dBFS (R)
Rear mini-jacks: -0,4 dB (L), -0,3 dB (R)..Corr Depth: 11,9 dB (L), 13,9 dB (R) Difference: -31.5 dBFS (L) , -32.8 dBFS (R)

DAD AX24 ([email protected])
-0,1 dB (L), -0,1 dB (R) Corr Depth: 27,4 dB (L), 28,9 dB (R) Difference*: -46.8 dBFS (L), -47.3 dBFS (R)

Behringer ADA8200 (didier.brest)
gain @ 10 o'clock : 4.3 dB (L), 4.6 dB (R)..Corr Depth: 27,6 dB (L), 29,2 dB (R) Difference*: -46.6 dBFS (L) , -47.7 dBFS (R)
gain mini : 14,7 dB (L), 14,3 dB (R)..Corr Depth: 27,9 dB (L), 29,5 dB (R) Difference: -46,8 dBFS (L) , -47,9 dBFS (R)

Echo Audiofire 4
syns 0.4 dB (L), 0.4 dB (R) Corr Depth: 26,3 dB (L), 27,6 dB (R) Difference*: -46.7 dBFS (L), -47.8 dBFS (R)
david1103 0,5 dB (L), 0,4 dB Corr Depth: 25,6 dB (L), 27,4 dB (R) Difference: -45,2 dBFS (L), -46,3 dBFS (R)

Antelope Audio Eclipse 384 (Giuseppe Zaccaria)
-0.1 dB (L), -0.2 dB (R) Corr Depth: 26,3 dB (L), 27,8 dB (R) Difference*: -46.6 dBFS (L) -47.9 dBFS (R)

Universal audio Apollo 8 Quad (kmr)
0.1 dB (R) 0.1 dB (L) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -46.4 dBFS (L), -47.4 dBFS (R)

Apogee Ensemble Thunderbolt (kmr)
0,2 dB (L), 0,3 dB (R)..Corr Depth: 25,2 dB (L), 26,8 dB (R) Difference*: -45.7 dBFS (L), -47.1 dBFS (R)

Echo 2 (bezen4UK)
2,3 dB (L), 2,3 dB (R)..Corr Depth: 26,9 dB (L), 28,6 dB (R) Difference*: -45.7 dBFS (L), -47.0 dBFS (R)

Universal Audio Apollo Quad (davidbayles)
0.3dB (L), 0.3dB (R). Corr Depth: 26,5 dB (L), 28,0 dB (R). Difference*: -45.7 dBFS (L), -46.4 dBFS (R)

E-MU 1616M
(vechung): 9.7 dB (L), 9.6 dB (R)..Corr Depth: 26,3 dB (L), 28,4 dB (R) Difference*: -45.5 dBFS (L), -46.5 dBFS (R)
left channel only (ben): -0.4 dB (L), Corr Depth: 28,9 dB (L) Difference: -47.7 dBFS (L)

Focusrite Saffire PRO 40 (MusicManic)
-0.566 dB (L), 0.293 dB (R) Corr Depth: 27,8 dB (L), 32,0 dB (R) Difference*: -45.3 dBFS (L), -44.6dBFS (R)

Mackie Onyx Blackjack (kegn51)
2,9 dB (L), 2,9 dB (R) Corr Depth: 30,5 dB (L), 32,3 dB (R) Difference*: -45.1 dB (L), -44.5 dB (R)

M-Audio FireWire 410 (JonasNorberg)
0.2dB (L) 0.2dB (R)..Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference*: -44.9 dBFS (L), -46.4 dBFS (R)

M-Audio Profire 2626 (cylens)
-0.5 dB (L), -0.5 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference*: -44.8 dBFS (L), -46.1 dBFS (R)

ESI ESP1010 (Agustin Mongelli)
-0,2 dB (L), -0,2 dB (R) Corr Depth: 24,0 dB (L), 25,7 dB (R) Difference*: -44.4 dBFS (L) , -45.9 dBFS (R)

Echo Audiofire 8 non adat CS4272 (guze)
0,8 dB (L), 0,9 dB (R) Corr Depth: 26,4 dB (L), 28,2 dB (R) Difference*: -44.0 dBFS (L) -43.9 dBFS (R)

MOTU HD192 (delchambre on Audiofanzine)
1.0 dB (L), 1.0 dB (R) Corr Depth: 23,4 dB (L), 25,0 dB (R) Difference*: -43.8 dBFS (L), -45.3 dBFS (R)

ECHO INDIGO io (bezen4uk)
0,6 dB (L), 0,6 dB (R) Corr Depth: 26,1 dB (L), 27,8 dB (R) Difference*: -43,8 dB (L), -43,7 dB (R)

RME HDSPe AIO(Touf on Pragmatic Audio)
0.7 dB (L), 0.7 dB (R) Corr Depth: 23,0 dB (L), 24,5 dB (R) Difference*: -43,4 dBFS (L) , -44,7 dBFS (R)

RME Multiface II (juki, Audiofanzine)
Unbalanced, -10 dBV: 0.5 dB (L), 0.4 dB (R) Corr Depth: 22,7 dB (L), 24,4 dB (R) Difference*: -43.2 dBFS (L) -44.6 dBFS (R)
Balanced, 4 dBu: Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L) -43,0 dBFS (R)

2011 MacBook Pro (stinkyfingers)
3.5 dB (L), 3.5 dB (R) Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference*: -43.1 dBFS (L), -43.6 dBFS (R)

RME Fireface 800
genelec79: 0.3 dB (L), 0.3 dB (R) Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference*: -42.6 dBFS (R), -44.1 dBFS (L)
-10 dBV outputs to low gain inputs (syns): 15,547dB (L), 15,601dB (R)..Corr Depth: 14,5 dB (L), 15,9 dB (R) Difference: -31.9 dBFS (L), -31.6 dBFS (R)

MOTU Traveler MK1 (sinebox)
2.0 dB (L), 2.1 dB (R) Corr Depth: 22,2 dB (L), 23,9 dB (R) Difference*: -42.6 dBFS (L), -44.1 dBFS (R)

MOTU Traveler MK1 with Black Lion Mod (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference*: -41.8 dBFS (L), -43.2 dBFS (R)

MOTU UltraLite (dheming)
0.6 dB (L), 0.5 dB (R)..Corr Depth: 21,1 dB (L), 22,6 dB (R) Difference*: -41.6 dBFS (L), -42.8 dBFS (R)

Avid Mbox 3 (Coucou)
5,1 dB (L), 5,1 dB (R) Corr Depth: 21,8 dB (L), 23,6 dB (R) Difference*: -41.3 dBFS (L), -42.0 dBFS (R)

Steinberg UR824 (kegn51)
-0.4 (L), 0.2 dB (R) Corr Depth: 20,5 dB (L), 22,2 dB (R) Difference*: -41.0 dBFS (L), -42.3 dBFS (R)

Sony Vaio [email protected] (kegn51)
2.2 dB (L), 2.3 dB (R) Corr Depth: 20,4 dB (L), 22,0 dB (R) Difference*: -40.9 dBFS (L) , -42.7 dBFS (R)

Tascam DA-3000 (dheming)
0,5 dB (L), 0,4 dB (R)..Corr Depth: 22,5 dB (L), 24,0 dB (R) Difference: -40.5 dBFS (L), -40.7 dBFS (R)

Apogee Duet2 (isma)
1.0 dB (L), 1.0 dB (R) Corr Depth: 19,8 dB (L), 21,4 dB (R) Difference*: -40.2 dBFS (L) -41.6 dBFS (R)

Yamaha Steinberg MR816X (didier.brest)
1.1 dB (L), 0.5 dB (R) Corr Depth: 19,1 dB (L), 21,0 dB (R) Difference*: -39.9 dB (L), -41.2 dB (R)

Antelope Audio Orion (davidbayle)
0.3 dB (L), 0.2 dB (R) Corr Depth: 19,2 dB (L), 20,7 dB (R) Difference*: -39.6 dBFS (L), -40.9 dBFS (R)

Tascam US-144MKII (capn357)
0,2 dB (L), 0,4 dB (R)..Corr Depth: 18,6 dB (L), 20,2 dB (R) Difference*: -39.0 dBFS (L), -40.4 dBFS (R)

RME Fireface UFX (didier.brest)
XLR outputs 1-2 to TRS inputs 3-4: 0.8 dB (L), 0.7 dB (R) Corr Depth: 18,5 dB (L), 20,1 dB (R) Difference*: -39.0 dBFS (L), -40.3 dBFS (R)
TRS outputs 5-6 to TRS inputs 3-4: 0,7 dB (L), 0,7 dB (R) Corr Depth: 18,4 dB (L), 20,1 dB (R) Difference*: -38,8 dBFS (L), -40,3 dBFS (R)
outputs 1-2 to XLR preamp inputs 9-10: 0,5 dB (L), 0,4 dB (R) Corr Depth: 14,7 dB (L), 16,2 dB (R) Difference: -35,0 dBFS (L) -36,3 dBFS (R)

Focusrite Saffire Pro 24 DSP (CoolColJ), first 45s part disregarded
5,2 dB (L), 5,2 dB (R) Corr Depth: 20,2 dB (L), 22,0 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)

Apogee PSX-100 (Winston Tones)
0.8 dB (L), 0.8 dB (R) Difference*: -38.5 dBFS (L), -39.9dBFS (R)

Focusrite Forte (Coucou)
9,9 dB (L), 9,9 dB (R) Corr Depth: 18,3 dB (L), 19,8 dB (R) Difference: -38,3 dBFS (L), -39,4 dBFS (R)

Focusrite Liquid Saffire 56, Line output to microphone input + pad (Melodeath)
0,2 dB (L), 0,2 dB (R) Corr Depth: 17,9 dB (L), 19,3 dB (R) Difference: -37,9 dBFS (L) -38,9 dBFS (R)

Digidesign 003 Rack
dheming: 0,4 dB (L), 0,5 dB (R) Corr Depth: 18,6 dB (L), 20,0 dB (R) Difference: -38.3 dBFS (L), -39.1 dBFS (R).
Shptq: 0.5 dB (L), 0,5 dB (R) Corr Depth: 18,4 dB (L), 20,2 dB (R) Difference*: -38.5 dBFS (L), -39.8 dBFS (R)

Echo AudioFire 2 (dheming)
0.6 dB (L), 0.2 dB (R) Corr Depth: 20,8 dB (L), 21,9 dB (R) Difference*: -37.8 dBFS (L), -37.9 dBFS (R)

Roland UA-22 Duo Capture-Ex (zoreviy)
5,0 dB (L), 5,1 dB (R)..Corr Depth: 18,2 dB (L), 19,7 dB (R) Difference: -36.5 dBFS (L), -36.2 dBFS (R)

Lavry Blue (Touf on Pragmatic Audio)
Modes Crystal and Narrow : 0,2 dB (L), 0,2 dB (R)..Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference -36,5 dBFS (L) , -37,5 dBFS (R)
Mode Wide: Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference: -36,4 dBFS (L) , -37,6 dBFS (R)

Tascam UH-7000 (sm5)
6,8 dB (L), 6,5 dB (R) Corr Depth: 15,5 dB (L), 17,1 dB (R) Difference: -35.2 dBFS (L) -36.2 dBFS (R)

Asus 11.6" laptop (kegn51)
1,3 dB (L), 1,7 dB (R) Corr Depth: 15,5 dB (L), 17,0 dB (R) Difference: -35,2 dBFS (L) , -36,2 dBFS (R)

Edirol FA-66 (didier.brest)
1.0 dB (L), 0.6 dB (R) Corr Depth: 15,6 dB (L), 17,1 dB (R) Difference*: -34.5 dBFS (L) -35.5 dBFS (R)

Focusrite Scarlett 2i2 (EvgenyStudio)
15,5 dB (L), 15,5 dB (R)Corr Depth: 19,3 dB (L), 23,6 dB (R) Difference*: -32,4 dBFS (L), -31,7 dBFS (R)

Line 6 POD Studio UX2 (Piux)
-0,5 dB (L), -0,4 dB (R) Corr Depth: 11,0 dB (L), 12,5 dB (R) Difference: -30.6 dBFS (L) -31.6 dBFS (R)

RME Babyface (didier.brest)
0.4 dB (L), 0.5 dB (R) Corr Depth: 9,2 dB (L), 10,8 dB (R) Difference*: -29.6 dBFS (L) -30.9 dBFS (R)



External clocking


MOTU 828mkII clocked by Lucid GENx192 (MusicManic)
-0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)

Lynx Aurora 8 clocked by (cylens)
Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -55.3 dBFS (L) -56.5 dBFS (R)

RME ADI-8 DS Mk III clocked through ADAT by RME HDSP 9652 (maartenl945)
0,2 dB (L), 0,2 dB (R) Corr Depth: 32,9 dB (L), 34,4 dB (R) Difference*: -49.9 dBFS (L), -49.9 dBFS (R)

Ferrofish A16 MK-II clocked by RME HDSPe RayDAT (ST.)
0,3 dB (L), 0,3 dB (R) Corr Depth: 26,6 dB (L), 28,2 dB (R) Difference: -46.3 dBFS (L) -47.3 dBFS (R)

Apogee Rosetta 800 clocked by Universal Audio Apollo (davidbayle)
Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Apogee Rosetta 800 clocked by Antelope Orion (davidbayle)
Corr Depth: 39,6 dB (L), 41,6 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Echo Audiofire 8 with ADAT clocked by RME HDSP 9632 (schtim)
Corr Depth: 25.9 dB (L), 27.5 dB (R) Difference: -45.5 dBFS (L) -46.5 dBFS (R)

M-Audio Profire2626 clocked by RME HDSPe RayDAT (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.1 dBFS (L) -45.0 dBFS (R)

M-Audio Profire2626 clocked by Lynx Aurora8 (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.0 dBFS (L) -44.9 dBFS (R)

Behringer ADA8000 clocked by RME Fireface UFX (Krisprolls on Pragmatic Audio)
minimum gain : 13,4 dB (L), 13,4 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Diff. -44,0 dBFS (L) , -45,3 dBFS (R)
gain @ 4 : 1,2 dB (L), 1,4 dB (R)..Corr Depth: 23,9 dB (L), 25,5 dB (R) Diff. -42,3 dBFS (L) , -44,5 dBFS (R)

RME Octamic XTC clocked by RME Fireface UFX (Loicm on Pragmatic Audio) - Unbalanced phone output to
unbalanced instrument inputs 5-6, 13 dB gain: 1,0 dB (L), 1,0 dB (R)..Corr Depth: 22,8 dB (L), 24,4 dB (R) Difference*: -43.3 dBFS (L), -44.6 dBFS (R)
balanced line inputs 1-2, 10 dB gain: 4,5 dB (L), 4,5 dB (R)..Corr Depth: 19,4 dB (L), 21,0 dB (R) Difference*: -39.8 dBFS (L), -41.2 dBFS (R)

Universal Audio Apollo clocked by Apogee Rosetta (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

Universal Audio Apollo clocked by Antelope Orion (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

RME Fireface 800 clocked by Yamaha 02R (genelec79)
Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L), -43,0 dBFS (R)

Motu Traveler MK1 clocked by Lynx Aurora 16 or Black Lion Micro Clock mk1 (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference: -41.1 dBFS (L), -42.1 dBFS (R)



Couples of different converters


Synchronised mode ('master' indicates which converter delivers the master clock)

Forssell MDAC-4 ----> Focusrite Blue 245 master, (funkakuchi on Pragmatic Audio = funka on Gearslutz)
Focusrite sensitivity 0 dBFS = 16 dBu
0,1 dB (L), 0,0 dB (R) Corr Depth: 64.7 dB (L), 65.7 dB (R) Difference: -77.1 dBFS (L) -78.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 10
4.0 dB (L), 4.0 dB (R) Corr Depth: 66.9 dB (L), 69.8 dB (R) Difference*: -81.2 dBFS (L) -81.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 53
3.9 dB (L) 4.0 dB (R) Corr Depth: 69,4 dB (L), 71,5 dB (R) Difference*: -80.1 dB (L), -80.1 dB (R)

SPL Madison ---> Texas Instrument PCM4222 Evaluation Module master (living sounds) . Details of the clocking.
0,2 dB (L), 0,2 dB (R) Corr Depth: 78,7 dB (L), 81,2 dB (R) Difference*: -80.1 dBFS, -80.1 dBFS

MSB Platinum IV Plus DAC ---> MSB Studio ADC master (DUJS)
4,9 dB (L), 4,9 dB (R) Corr Depth: 62,8 dB (L), 63,4 dB (R) Difference: -77,7 dBFS (L), -77,4 dBFS (R)

ReQuest Audio, The Beast DAC master ---> MSB Platinum Studio ADC (DUJS)
Corr Depth: 62,0 dB (L), 63,4 dB (R) Difference: -76,9 dBFS (L), -76,3 dBFS (R)

Swissonic DA24 MkII ---> Texas Instrument PCM4222 Evaluation Module master + DC offset removal (living sounds)
0,1 dB (L), 0,1 dB (R) Corr Depth: 82,6 dB (L), 85,5 dB (R) Difference*: -73.0 dBFS (L), -73.8 dBFS (R)

ESI [email protected] XTe DAC ---> MSB Studio ADC master (DUJS)
Corr Depth: 46,0 dB (L), 48,0 dB (R) Difference: -65,3 dBFS (L), -66,7 dBFS (R)

Forsell MADA-2 ---> Antelope Pure2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

Swissonic DA24 MkII ---> Black Lion Audio Sparrow mkII (living sounds)
0,6 dB (L), 0,6 dB (R) Corr Depth: 36,0 dB (L), 37,6 dB (R) Difference*: -56.4 dBFS (L) , -57.8 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC master (dheming)
1,1 dB (L), 1,0 dB (R)..Corr Depth: 35,5 dB (L), 37,0 dB (R) Difference: -55,2 dBFS (L), -56,3 dBFS (R)

Metric Halo LIO-8 ---> Burl B2 Bomber ADC (Antoine Fabi)
LIO-8 or B2 WC master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R), Difference: -54.8 dBFS (L), -55,7 dBFS (R), Difference* (B2 WC master): -55.7 dBFS (L), -57.0 dBFS (R)
B2 AES master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R) Difference: -54.8 dBFS (L), -55,6 dBFS (R)

RME Fireface 400 ---> MOTU 828mkII, 2 tests: RME or MOTU clock (MusicManic)
5,1 dB (L), 5,2 dB (R) Corr Depth: 35,1 dB (L), 36,7 dB (R) Difference: -54.7 dBFS (L), -55.7dBFS (R)

Forsell MDAC-4 ---> Studer D19 master (funkakuchi on Pragmatic Audio)
0,1 dB (L), 0,1 dB (R) Corr Depth: 34,3 dB (L), 36,2 dB (R) Difference: -53.9 dBFS (L), -55.3 dBFS (R)

Lynx Aurora 16 ---> Focusrite Blue 245 master (funkakuchi on Pragamatic Audio)
0,04 dB (L), 0,02 dB (R) Corr Depth: 63,4 dB (L), 62,2 dB (R) Difference*: -53.4 dBFS(L) -52.5 dBFS(R)

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module master (living sounds)
Synchro lock off: 0.1 dB (L), 0.1 dB (R) Corr Depth: 65,6 dB (L), 63,8 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)
Synchro lock on: 0.311 dB (L), 0.317 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)

Motu 24Ao ---> Lynx Aurora 8 (leolycra)
Motu master: -0.2 dB (L), -0.2 dB (R) Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R) Difference*: -50.2 dBFS (L), -49.7 dBFS (R)
Lynx master: -0,2 dB (L), -0,2 dB (R)..Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R)

Antelope Pure2 ---> Forsell MADA-2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 29.7 dB (L), 31.3 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Lavry DA924 ---> Lavry AD122-96MkII clocked by Antelope Isochrone Trinity + Antelope Isochrone 10M (Winston Tones)
0,0 dB (L), 0,0 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference*: -50.0 dBFS (L), -51.3 dBFS (R)

Forsell MDAC-4 ---> Forsell MADC-2 (first version) master (funkakuchi on Pragmatic Audio)
0,5dB (L), 0,5 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference: -49,2 dB (L), -50,3 dB (R)

Focusrite Saffire PRO 40 ---> MOTU 828mkII, 2 tests: Focusrite or MOTU clock (MusicManic)
2,4 dB (L), 2,4 dB (R) Corr Depth: 34,2 dB (L), 36,0 dB (R) Difference: -46.6 dBFS (L), -46.6dBFS (R)

Audient iD22 ---> Behringer ADA8200 master (Hardtailed)
2,0 dB (L), 2,5 dB (R)..Corr Depth: 28,4 dB (L), 30,6 dB (R) Difference: -46.5 dBFS (L), -48.1 dBFS (R)

Tascaml UH-7000 ---> Lynx Hilo master (sm5)
1,0 dB (L), 1,0 dB (R)..Corr Depth: 36,7 dB (L), 38,5 dB (R) Difference: -46.2 dBFS (L), -45.9 dBFS (R)

Emotiva XDA-1 ---> Prism Lyra 1 (capn357)
0,0 dB (L), 0,0 dB (R)..Corr Depth: 25,8 dB (L), 27,7 dB (R) Difference: -44.7 dBFS (L), -45.5 dBFS (R)

MOTU 828mkII ---> RME Fireface 400, 2 tests: MOTU or RME clock (MusicManic)
0,3 dB (L), 0,5 dB (R) Corr Depth: 24,5 dB (L), 26,3 dB (R) Difference: -44.1 dBFS (L), -45.3dBFS (R)

Behringer ADA8200 ---> Audient iD22 master (Hardtailed)
2,8 dB (L), 2,9 dB (R)..Corr Depth: 28,5 dB (L), 30,1 dB (R) Difference: -42.9 dBFS (L), -42.8 dBFS (R)

MOTU 828mkII ---> Focusrite Saffire PRO 40, 2 tests: MOTU / Focusrite clock (MusicManic)
1,3 dB (L), 1,8 dB (R)Corr Depth: 25,9 dB / 25,8 (L), 29,9 dB (R) Difference: -42.2 / -42.1 dBFS (L), -44.4dBFS (R)

Tascam-DA3000 ---> Mytek Stereo 192 ADC master (dheming)
3,4 dB (L), 3,3 dB (R)..Corr Depth: 27,0 dB (L), 28,3 dB (R) Difference: -39.9 dBFS (L), -39.4 dBFS (R)

Digidesign Rack ---> Mytek Stereo 192 ADC master (dheming)
0,7 dB (L), 0,7 dB (R)..Corr Depth: 17,7 dB (L), 19,0 dB (R) Difference: -38.1 dBFS (L), -39.1 dBFS (R)

Atoll DAC200 --> RME Babyface master (didier.brest)
Corr Depth: 10,1 dB (L), 11,9 dB (R) Difference: -30,0 dBFS (L) -31.3 dBFS (R)

RME Babyface --> RME Fireface 400 (didier.brest)
Corr Depth: 16,6 dB (L), 18,4 dB (R) Difference: -29,4 dBFS (L), -28,8 dBFS (R)

Benchmark DAC1 phone output ---> Echo Audiofire 4 (david1103)
Corr Depth: 10,4 dB (L), 10,2 dB (R) Difference: -22,6 dBFS (L), -23,1 dBFS (R)

Unsynchronized mode. The DA and AD converters run each on its own clock. Measurement performed with sample rate drift correction activated in Audio DiffMaker and limited to the first half of the sample. Because the RMS level of this first half is 1 dB lower than the RMS level of the full-size sample, one must increase the difference RMS level figures by 1 dB for comparison with the synchronized mode.

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module (living sounds)
Aurora clock at 44.1 kHz: 0.3 dB (L), 0.3 dB (R), rate adj=-0,0749 ppm. Corr Depth: 61,8 dB (L), 59,3 dB (R) Difference*: -54.8 dBFS (L), -53.9 dBFS (R)
Aurora clock at 88.2 kHz: 0.3 dB (L), 0.3 dB (R). rate adj=1,0352 ppm.Corr Depth: 65,9 dB (L), 69,9 dB (R) Difference*: -65.4 dBFS (L), -66.2 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC (dheming)
4,1 dB (L), 4,1 dB (R). rate adj=4,4143 ppm.Corr Depth: 36,1 dB (L), 38,1 dB (R) Difference: -56.9 dBFS (L), -58.2 dBFS (R)

Forsell MDAC-4 ---> Alesis Masterlink ML-9600 (funkakuchi on Pragmatic Audio)
1,1 dB (L), 1,2 dB (R). rate adj=7,8413 ppm.Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference: -55.3 dBFS (L), -56.5 dBFS (R)

Lavry DA11 ---> Benchmark ADC1 (non USB, 2005) ---> Tascam US-366 (usernaim)
4,2 dB (L), 3,7 dB (R). rate adj=1,2144 ppm.Corr Depth: 33,3 dB (L), 38,7 dB (R) Difference: -52.2 dBFS (L), -57.8 dBFS (R)

Musical Fidelity V-Link ---> Benchmark DAC1 ---> TC Electronic Konnekt 8 (usernaim)
5,4 dB (L), 4,9 dB (R). rate adj=-1,5532 ppm.Corr Depth: 30,1 dB (L), 32,2 dB (R) Difference: -50.8 dBFS (L), -52.1 dBFS (R)

BenchmarkDAC2 HGC ---> Digidesign Rack (dheming)
5,5 dB (L), 5,5 dB (R). Rate adjustment unnecessary.Corr Depth: 35,5 dB (L), 37,9 dB (R) Difference: -49.4 dBFS (L), -49.2 dBFS (R)

JDS Labs ODAC ---> Echo AudioFire 4 (syns)
10,2 dB (L), 10,2 dB (R). rate adj=8,1413 ppm.Corr Depth: 26,5 dB (L), 28,6 dB (R) Difference: -47.2 dBFS (L), -48.6 dBFS (R)

MOTU Ultralite ---> Mytek Stereo 192 ADC (dheming)

1,5 dB (L), 1,5 dB (R). rate adj=0,0474 ppm.Corr Depth: 36,8 dB (L), 39,1 dB (R) Difference*: -46.9 dBFS (L), -46.2 dBFS (R)

ATOLL DAC 200 --> RME Fireface UFX (didier.brest)
2,3 dB (L), 2,4 dB (R). rate adj=8,8289 ppm.Corr Depth: 23,2 dB (L), 25,3 dB (R) Difference: -44,0 dBFS (L), -45,4 dBFS (R)

JDS Labs ODAC ---> RME Fireface 800 (syns)
5,3 dB (L), 5,3 dB (R). rate adj=-1,5467 ppm.Corr Depth: 23,2 dB (L), 25,5 dB (R) Difference: -43.8 dBFS (L), -45.3 dBFS (R)

Benchmark DAC2 HGC ---> Marantz PMD661 (dheming)
4,1 dB (L), 4,5 dB (R). rate adj=14,8525 ppm.Corr Depth: 23,0 dB (L), 25,1 dB (R) Difference: -43.8 dBFS (L), -45.2 dBFS (R)

Tascam DA-3000 ---> Mytek Stereo 192 ADC (dheming)
3,4 dB (L), 3,3 dB (R). rate adj=0,0426 ppm.Corr Depth: 27,7 dB (L), 29,3 dB (R) Difference*: -42.8 dBFS (L), -42.7 dBFS (R)

Benchmark DAC2 HGC ---> Tascam DA-3000 (dheming)
3,1 dB (L), 3,0 dB (R). rate adj=0,0750 ppm.Corr Depth: 24,0 dB (L), 25,9 dB (R) Difference: -42.5 dBFS (L), -43.0 dBFS (R)

Benchmark DAC2 HGC ---> MOTU UltraLite (dheming)
5,1 dB (L), 5,0 dB (R). rate adj=0,0102 ppm.Corr Depth: 21,7 dB (L), 23,6 dB (R) Difference: -42.3 dBFS (L), -43.6 dBFS (R)

Benchmark DAC2 HGC ---> (dheming)
8,3 dB (L), 8,2 dB (R). rate adj=-8,6552 ppm.Corr Depth: 16,4 dB (L), 18,5 dB (R) Difference: -36.9 dBFS (L), -38.3 dBFS (R)

ATOLL DAC 200 --> RME Babyface (didier.brest)
Rate adj=-4,3193 ppm.Corr Depth: 10,8 dB (L), 13,0 dB (R) Difference: -31,5 dBFS (L), -33,1 dBFS

For contributing to this test :
- download the test 2 x 44 kHz x 24 bit wav file (31 Mb),
- cable link the 2 DAC outputs to 2 ADC inputs,
- play back the test file to the DAC outputs and record from the ADC inputs,
- upload to mediafire or any other file sharing site the 2 x 44 kHz x 24 bit wav file from this recording and
- provide the download link here with information about ADC and DAC identities.
Your contribution is welcome even if your converter is already in the above list.
Thank you !

Last edited by didier.brest; 30th January 2016 at 09:21 AM..
Old 30th January 2016
  #1244
Lives for gear
 
didier.brest's Avatar
 

Another test of the ESI [email protected] XTe done by edneysis
Audio DiffMaker: -1,558msec, 0,522dB (L), 0,482dB (R)..Corr Depth: 29,2 dB (L), 30,8 dB (R) Difference: -48.9 dBFS (L), -49.9 dBFS (R)
Matlab: -1.56001 ms 0.5237 dB (L) 0.4810 (R) Difference: -49.7 dBFS (L), -51.0 dBFS (R)
To be added to the list of results here above.
Old 4th February 2016
  #1245
Gear Head
 

Quote:
Originally Posted by didier.brest View Post
Test of the Lynx Hilo by schizoide on the French forum Pragmatic Audio:

ADM: -1,86msec, 0,495dB (L), 0,494dB (R)..Corr Depth: 56,5 dB (L), 57,6 dB (R) Difference: -69.2 dBFS, -68.6 dBFS
Matlab: -1.85944 ms 0.492 dB (L) 0.492 dB (R) Difference: -72.3 dBFS, -71.2 dBFS
These resullts are much better than the ones from both other Hilo units already tested here. schizoide's unit was bought new from Thomann at the beginning of this month.

List of resuls updated.
Didier, do you have any thoughts as to how or why schizoide's numbers for the HILO are so dramatically better than the other HILO units you've sampled? Those results stick out like a sore thumb whereas most of everyone else's results appear to align pretty well for all of the other units (at least so far as I've noticed).

I apologize if you've addressed this previously, but I couldn't find such an explanation when I searched for it.
Old 4th February 2016
  #1246
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by capn357 View Post
Didier, do you have any thoughts as to how or why schizoide's numbers for the HILO are so dramatically better than the other HILO units you've sampled?
schizoide got in touch with Phil Moon at Lynx about this test:

Quote:
Thank you for your email. Good to hear that Hilo gave the best results.
A couple of thoughts.

Every Hilo that is shipped meets or exceeds our published specs. We are pushing the limits on some of these specs, so to test and measure Hilo we needed to get customized Audio Precision test units. Since Hilo’s specs are better than most test equipment, this was necessary.

A 10 dB difference in a measurement could mean several things…
1. You got a really good one that far exceeds our specs
2. The one that measured 10 dB worse may need to come back here to Lynx so we can look at it to see if there is a problem with it.
3. (In my mind the most likely) a difference due to the testing equipment, cables, test methods or other variable.

We have not made any changes that would result in a 10 dB change in any spec.

Thanks for letting us know about your test. I will forward this to engineering who may have other comments as well.
I would be interested in testing another recent (> July 2015) Hilo unit.
Old 13th February 2016
  #1247
Gear Head
 

I'll open with the admission that this post doesn't directly pertain to the exact test scenario upon which this thread is based, but it is related in so much that it was Didier's test scenario that inspired me to conduct a modified version of the test in an attempt to characterize the contribution of an added CD transport, with surprising (to me) results.

Background: I really like the simplicity and objectivity of the test that Didier submitted on this thread. Start with a digital file, run it through a D to A, run that into an A to D, compare the resultant digital file to the original and the closest file wins. Having already performed his test on my Motu 828 MKii, I knew its performance and limitations in this regard.

Recently, I ran across some article touting one manuf/model's CD transport's sonic performance as being superior to most. In this instance, the "CD transport" is defined as all of the hardware and electronics associated with reading the digital information from an audio CD and spitting it out of either a TOSlink optical output or coaxial digital output. I was immediately skeptical of the notion that the transport could have any significant effect on the sound quality so I decided to set up a little experiment using Didier's test as a basis

For my test, I decided that my starting reference would be a 44.1 KHz, 16 bit wav file ripped directly off of one of my CDs (turned out I used "This is a good street" by Mudcrutch).

To test the transport, I:

1. Connected the digital output of a CD to the digital input of my Motu 828 Mkii , recording that input on the Motu 828 MKii as the CD was playing, with the clock of the Motu synced to the digital output of the CD player.
2. I then played that captured file from step #1 through the normal D to A and A to D loop of the Motu with the Motu's clock now set to "internal".
3. Finally, I compared the resultant digital file captured from step #2 to the ripped wave file using diffmaker.

I tested two transports: A) Emotiva ERC-1 and B) My cheesy Samsung bluray player BDP-S5200.

Since the file I was using for this test was different from the one used in Didier's test, I also needed to re-establish the baseline performance of the Motu 828 Mkii with the new file, so I reran Didier's test with my file (This is a good street).

Immediately following are the results:

Baseline performance of D to A and A to D loop of Motu 828 Mkii with "This is a good street" 44.1Khz,16 bit file as reference:

Diffmaker results: parameters: -7.202msec, 0.050dB (L), 0.102dB (R)..Corr Depth: 36.6 dB (L), 36.7 dB (R)

Performance of Emotiva ERC-1 AND D to A and A to D loop of Motu 828 Mkii tested as described earlier:

Diffmaker results: parameters: 436.9msec, 0.066dB (L), 0.139dB (R)..Corr Depth: 36.5 dB (L), 36.5 dB (R)

Performance of Samsung BDP-S5200 AND D to A and A to D loop of Motu 828 MKii tested as described earlier:

parameters: -309.7msec, 0.050dB (L), 0.102dB (R)..Corr Depth: 36.6 dB (L), 36.7 dB (R)

Now, these results are essentially all the same, which is what I expected. However, I then modified the test so that it no longer involved a "two step" recording process (i.e. I consolidated steps 1 and 2 above by configuring the bus inside the Motu 828 mkii such that I could capture the CD-->Motu 828 dig input-->D to A-->A to D in one fell swoop). For this one-step test, I set the Motu's clock to sync to the digital output of the transport.

When I consolidated everything to one step, the results were as follows:

Emotiva ERC-1: parameters: -362.2msec, 0.316dB (L), 0.366dB (R)..Corr Depth: 29.6 dB (L), 29.6 dB (R)

Samsung BDP-S5200: parameters: -363.5msec, 0.050dB (L), 0.102dB (R)..Corr Depth: 36.6 dB (L), 36.7 dB (R)

In this case, there was a measurable difference between the two transports. Once I saw this difference, I decided to run the Diffmaker comparison between the reference file and the interim file captured in step #1 of the original two step recording process. Since that first step would seem to only involve accurately capturing the digital data from the digital output of the transport and doesn't involve the D to A and A to D loop, I expected that file to be practically identical to the reference. Here is what I found:

Emotiva ERC-1 dig out --> dig in of Motu 828 mkii (clocked to ERC)
diffmaker results: parameters: 438.3msec, 0.014dB (L), 0.034dB (R)..Corr Depth: 56.5 dB (L), 48.4 dB (R)

Samsung BDP-S5200 dig out --> dig in of Motu 828 mkii (clocked to Samsung)
diffmaker results; parameters: -308.3msec, 0.000dB (L), 0.000dB (R)..Corr Depth: 131.5 dB (L), 129.4 dB (R)

Here, you can see that the file captured from the Samsung digital output is nearly identical to the original (at least i consider 131.5 dB of null depth to be nearly identical), whereas the file captured from the Emotiva ERC-1 digital output is certainly not identical to the original.

So, it would appear that the Emotiva transport could indeed negatively impact the sonic performance (albeit small) of a system that incorporated the Motu 828 mkii DAC and that my $50 bluray player outperformed the $250 Emotiva ERC-1 in this regard.

Count me as surprised.

Is this a jitter thing? If so, I'm guessing that newer DACs with more sophisticated jitter mitigation would improve the capture of the digital output from both transports more consistently.

Insights welcome.
Old 13th February 2016
  #1248
Lives for gear
 
funka's Avatar
Quote:
Emotiva ERC-1 dig out --> dig in of Motu 828 mkii (clocked to ERC)
diffmaker results: parameters: 438.3msec, 0.014dB (L), 0.034dB (R)..Corr Depth: 56.5 dB (L), 48.4 dB (R)

Samsung BDP-S5200 dig out --> dig in of Motu 828 mkii (clocked to Samsung)
diffmaker results; parameters: -308.3msec, 0.000dB (L), 0.000dB (R)..Corr Depth: 131.5 dB (L), 129.4 dB (R)
The Samsung test in fact probably is perfect, as the dynamic of a CD is "only" 96db. Is the Diff Maker computed difference file only filled with zeros if you load it into a DAW?

I think, to be verified, that read errors, probably coming from bad transport, are corrected to 14 bits words, instead of original 16 bit words. It would be interesting to inspect the Emotiva file, and see what those differences are, in value.

Could you upload those to difference files?
Old 13th February 2016
  #1249
Gear Head
 

Quote:
Originally Posted by funka View Post
The Samsung test in fact probably is perfect, as the dynamic of a CD is "only" 96db. Is the Diff Maker computed difference file only filled with zeros if you load it into a DAW?

I think, to be verified, that read errors, probably coming from bad transport, are corrected to 14 bits words, instead of original 16 bit words. It would be interesting to inspect the Emotiva file, and see what those differences are, in value.

Could you upload those to difference files?
Thanks much and you were right about the Samsung file being perfect. Once I loaded that particular diff file into Audacity I did in fact see all zeros.

The Emotiva file, on the other hand, not so much.

I've uploaded both of these diff files to box.com and they can be accessed from the following link:

https://app.box.com/s/c4z67900ikv99stnlm2con9r4aciqozo

To be clear, neither of these diff files should have had any D to A or A to D factored within; these are the differences between the reference source (ripped wav file) and the file captured by the Motu 828 mkii directly from the digital I/O of each transport.
Old 13th February 2016
  #1250
Lives for gear
 
funka's Avatar
Quote:
Thanks much and you were right about the Samsung file being perfect. Once I loaded that particular diff file into Audacity I did in fact see all zeros.
Ok. And that's the way digital has to be handled, perfectly from digital to digital.

I'll have a look at the files, thanks.
Old 13th February 2016
  #1251
Lives for gear
 
funka's Avatar
In the middle of the files(as extremes are not ok to be compared):
- Samsung: +-1 sample in values (surely coming from rounding done in ADM)
- Emotiva: +-127 sample in values (meaning differences are, in absolute level, coded with 7 bits!)

Has here it is just digital files comparison, has you tried to simply align them and sum them(one being phase reversed) ? For both files, against the original.
This would avoid having Audio Diff Maker rounding due to computations.

Did you record digitally at 16 bit depth in the DAW? This would avoid bit depth issues...
Your ripped CD version was 16 bits from the start, not 24 bits then 16 bits dithered?
Old 14th February 2016
  #1252
Gear Head
 

Quote:
Originally Posted by funka View Post
Ok. And that's the way digital has to be handled, perfectly from digital to digital.

I'll have a look at the files, thanks.
ARGHH! OPERATOR ERROR FOUND!

I've discovered that I was the cause of the "apparent" degradation of the Emotiva ERC-1 digital output as compared to the Samsung Blu ray player. The method I was using to start the recording of the track playing on the Emotiva was actually cutting off the beginning of the song, which was throwing DiffMaker off. Once I cleaned up that play/record sequence, the results from the Emotiva matched those from the Samsung.

Funka, I'm sorry for wasting your time, but I thank you for your effort. It was your suggestion that I look more closely at the difference files that ultimately led to my discovery of my error.

Anyway, after all of that, I'm now back to thinking what I suspected at the beginning of all of this, which is that the CD transport really shouldn't make any difference to the audio quality of the entire chain (assuming it is at least able to read the disc).
Old 14th February 2016
  #1253
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funka's Avatar
Old 19th February 2016
  #1254
Lives for gear
 
didier.brest's Avatar
 

edneysis redid a test of his ESI [email protected] XTe using balanced instead of unbalanced I/O:
ADM: -1,002sec, -0,423dB (L), -0,472dB (R)..Corr Depth: 32,9 dB (L), 34,5 dB (R) Difference: -52.5 dBFS (L), -53.5 dBFS (R)
Matlab: -1.00157180 s, -0.4216 dB (L), -0.4732 dB (R) Difference: -53.3 dBFS (L), -54.7 dBFS (R)

DA-AD loops from this wav file evaluated by means of Audio DiffMaker.

'Difference' indicates RMS level figures measured in Wavelab from the difference file delivered by Audio DiffMaker.
'Difference*' indicates RMS level figures got from a difference file generated in Matlab after refining the time offset and gain figures provided by Audio DiffMaker in order to get the lowest difference level. Hence the 'Difference*' figures are lower than the 'Difference' figures.

Read also this about the test method.
See at the end of this post how to contribute to the test.

AD-DA converters performing from their internal clock

Lynx Hilo
schizoide on Pragmatic Audio: 0.5 dB (L), 0.5 dB (R)..Corr Depth: 56,5 dB (L), 57,6 dB (R) Difference*: -72.3 dBFS, -71.2 dBFS
CoolColJ - 6 last second part disregarded: -0,1 dB (L), -0,1 dB (R) Corr Depth: 41,8 dB (L), 43,7 dB (R), Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
sm5, line in and line out trims set at +0: -0.1 dB (L), -0.1 dB (R)..Corr Depth: 41,8 dB (L), 43,6 dB (R) Difference*: -58.9 dBFS (L), -59.0 dBFS (R)
sm5, level line in and line out trims set at +24: 0.0 dB (L), 0.0 dB (R)..Corr Depth: 41,8 dB (L), 43,6 RMS Difference*: -59.1 dBFS (L), -59.1 dBFS (R)
Agustin Mongelli, Line out: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Phone out: 0.0 dB (L), 0.1 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Line Out Trim 0dBV, Line In Trim 2dBV: 1,9 B (L), 1,9 dB (R)..Corr Depth: 41,9 dB (L), 43,7 dB (R) Difference*: -59.1 dBFS (L), -59.2 dBFS (R)

Merging Technologies Hapi
ADA8 ---> ADA8 (ljudatervinning): 0.391dB (L), 0.376dB (R) Corr Depth: 38,5 dB (L), 40,1 dB (R) Difference*: -58,9 dBFS (L), -60,3 dBFS (R)
DA8P --> AD8DP (Touf on Pragmatic Audio)
0.08 dB (L), 0.07 dB (R) Corr Depth: 35,9 dB (L), 37,2 dB (R) Difference*: -53.0 dBFS (L), -52.8 dBFS (R)
ADA8 ---> AD8D (ljudatervinning) 0,2 dB (L), 0,2 dB (R)..Corr Depth: 36,2 dB (L), 37,6 dB (R) Difference*: -53.1 dBFS (L), -53.0 dBFS (R)

Antelope Pure2
Touf on Pragmatic Audio: -0.0 dB (L), -0,2 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)
MattGray: 0,0 dB (L), -0,0 dB (R)..Corr Depth: 36,3 dB (L), 37.9 dB (R) Difference*: -56.8 dB (L), -58.2 dB (R)

Metric Halo LIO-8
(BrianVengeance): 3.0 dB (L), 3.0 dB (R)..Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi: 3,4 dB (L), 3,4 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi, out +3 dB: 0.4 dB (L), 0.5 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

MOTU 2408mk3 (ram75)
0,1 dB (L), 0,1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56,7 dBFS (L), -58,1 dBFS (R)

MOTU 828mkII
laurend: 6.1 dB (L), 6.2 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
MusicManic: -0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)
syns: 6.1 dB (L), 6.1 dB (R) Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference* -56.7 dBFS (L) , -58.0 dBFS (R)
capn357 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,4 dB (L), 38,0 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

MOTU 24I/O
Zam on Pragmatic Audio: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.0 dBFS (R)
ram75: 0.1 dB (L), 0.1 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 dBFS (R)

Mytek 8 x 192 AD/DA (MainTime)
0,4 dB (L), 0,5 dB (R) Corr Depth: 35,3 dB (L), 36,9 dB (R) Difference*: -55.8 dBFS (L) -57.1 dBFS (R)

Lynx Aurora 8 (cylens)
-0,1 dB (L), -0,1 dB (R) Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference*: -54.5 dBFS (L) -55.6 dBFS (R)

Lynx Aurora 16
Touf on Pragmatic Audio: -0,1dB (L), -0,1dB (R)..Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -54,2 dBFS (L) , -55,1 dBFS (R)
antichef: -0,1 dB (L), -0,1 dB (R)..Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference*: -54.5 dBFS (L), -55.5 dBFS (R)

Edirol UA-1000 (gollumsluvslave)
0.2 dB (L), 0.2 dB (R) Corr Depth: 34,0 dB (L), 35,6 dB (R) Difference*: -54.4 dBFS (L), -55.7 dBFS (R)

TC Electronic Konnekt 48
DownSideUp: 13.1 dB (L), 13.2 dB (R)..Corr Depth: 33,2 dB (L), 34,8 dB (R) Difference*: -53.6 dBFS (L) -54.9 dBFS (R)
TC-konnekt48 Output_input 5+6
kas_lar 0.1 dB (L), 0.1 dB (R)..Corr Depth: 33,1 dB (L), 34,7 dB (R) Difference*: -53.4 dBFS (L), -54.7 dBFS (R)

Lynx L22 (bezen4uk)
2,9 dB (L), 2,9 dB (R)..Corr Depth: 33,0 dB (L), 34,7 dB (R) Difference*: -53.5 dBFS (L), -54.7 dBFS (R)

ESI [email protected] (Agustin Mongelli)
5.6dB (L), 5.7dB (R) Corr Depth: 33,0 dB (L), 34,6 dB (R) Difference*: -53.4 dBFS (L), -54.7 dBFS (R)

ESI [email protected] XTe
DUJS: -0.3 dB (L), -0.3 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.1 dBFS (L), -54.5 dBFS (R)
edneysis: -0.4 dB (L), -0.5 dB (R)..Corr Depth: 32,9 dB (L), 34,5 dB (R) Difference*: -53.3 dBFS (L), -54.7 dBFS (R)

Lynx LynxTWO-B
bezen4uk: 2,8 dB (L), 2,8 dB (R) Corr Depth: 32,7 dB (L), 34,3 dB (R) Difference*: -53.2 dBFS (L) , -54.5 dBFS (R)
mattiasnyc: -0,03 dB (L), -0,04 dB (R) Corr Depth: 32,9 dB (L), 34,5 dB (R) Difference: -52.8 dBFS (L) , -53.4 dBFS (R)

Lynx E44 (LTrain)
-0.0 dB (L), -0.0 dB (R) Corr Depth: 32,3 dB (L), 34,1 dB (R) Difference*: -52.5 dBFS (L), -53.9 dBFS (R)

TC Electronics Impact Twin
AndG
: 0.5 dB (L), 0.8 dB (R) Corr Depth: 32,0 dB (L), 33,6 dB (R) Difference*: -52.5 dBFS (L) -53.8 dBFS (R)
Coucou: -0.1 dB (L), -0.0 dB (R) Corr Depth: 29,1 dB (L), 30,4 dB (R) Difference: -48,9 dBFS (L), -49,2 dBFS (R)
ben: Corr Depth: 29,1 dB (L), 30,8 dB (R) Difference: -48,7 dBFS (L), -49,7 dBFS (R)

RME HDSP 9632 (schtim)
0.5 dB (L), 0.5 dB (R) Corr Depth: 31.4 dB (L), 33.0 dB (R) Difference*: -51.9 dBFS (L) -53.2 dBFS (R)

RME ADI-8 QS (lou latch)
0.0 dB (L), 0.0 dB (R) Corr Depth: 31,4 dB (L), 32,9 dB (R) Difference*: -51.7 dBFS (L), -52.7 dBFS (R)
5.0 dB (L), 5.0 dB (R) Corr Depth: 31,4 dB (L), 33,0 dB (R) Difference*: -51.7 dBFS (L), -52.9 dBFS (R)

Audient iD22 through insert inputs
andyfromHH: 0.0 dB (L), 0.1 dB (R) Corr Depth: 32,4 dB (L), 34,3 dB (R) Difference*: -45.4 dBFS (L), -46.6 dBFS (R)
Hardtailed (outputs 3-4): -0,089dB (L), -0,091dB (R)..Corr Depth: 31,1 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (L), -52.4 dBFS (R)
kas_lar, outputs 1&2: -0,1 dB (L), -0,1B (R)..Corr Depth: 31,3 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (L), -52.8 dBFS (R). Outputs 3&4: 0.0 dB (L), 0.0 dB (R)..Corr Depth: 31,1 dB (L), 32,9 dB (R) Difference*: -51.4 dBFS (L), -53.0 dBFS (R)

Prism Lyra 1 (capn357)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,3 dB (L), 33,1 dB (R) Difference*: -51.6 dBFS (L), -53.0 dBFS (R)

Prism Lyra 2 (Shptq)
0,0 dB (L), -0,0 dB (R)..Corr Depth: 31,0 dB (L), 32,6 dB (R) Difference*: -51.3 dBFS (L), -52.6 dBFS (R)

Prism Orpheus (MainTime)
0,1 dB (L), 0,1 dB (R) Corr Depth: 30,8 dB (L), 32,4 dB (R) Difference*: -51.1 dBFS (L) -52.4 dBFS (R)

RME Fireface 400
didier.brest: 0.3 dB (L), 0.3 dB (R) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -50.7 dBFS (L) -52.0 dBFS (R)
MusicManic: 0.2 dB (L), 0.3 dB (R) Corr Depth: 24,0 dB (L), 25,8 dB (R) Difference*: -44.4 dBFS (L) -46.0 dBFS (R)

MOTU Track16 (EvgenyStudio)
7.0 dB (L), 6.9 dB Corr Depth: 30,0 dB (L), 31,5 dB (R) Difference*: -50,4 dBFS (L), -51,6 dBFS (R)
MOTU Track16

Forsell MADA-2
vjm through funkakuchi on Pragmatic Audio) 3,6 dB (L), 4,1 dB (R) Corr Depth: 27,8 dB (L), 30,9 dB (R) Difference* -50.3 dBFS (L) , -51.7 dBFS (R)
MattGray (rev. a unit): 0.0 dB (L), 0.0 dB (R)..Corr Depth: 29,6 dB (L), 31,2 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Apogee Symphony I/O (Ajantis)
0,0 dB (L), 0,0 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51,2 dBFS (L), -50,1 dBFS dB (R)

MOTU 16A (davidbayles)
728.5 µs, 1.518 dB (L) 1.513 dB (R) Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51.1 dBFS (L), -50.1 dBFS (R)

Apogee Rosetta 800 (davidbayle)
0.2 dB (L), 0.2 dB (R) Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference*: -50.0 dBFS (L), -50.9 dBFS (R)

Apogee Rosetta 200 (Winston Tones)

-0.1 dB (L), -0.0 dB (R) Corr Depth: 37,9 dB (L), 39,8 dB (R) Difference*: -50.7 dB (L), -50.0 dB (R)

Prism ADA-8XR (shelterr)
-0,03 dB (L), -0,03 dB (R) Corr Depth: 37,5 dB (L), 39,5 dB (R) Difference*: -50,7 dBFS(L) -50,0 dBFS(R)

Crane Song HEDD-92 (Spartacus)
0.5 dB (L), 0.5 dB (R) Corr Depth: 36,6 dB (L), 38,4 dB (R) Difference*: -50.7 dBFS (L) , -50.0 dBFS (R)

Echo Audiofire 12 (guze)
0.7 dB (L), 0.7 dB (R) Corr Depth: 28,8 dB (L), 30,1 dB (R) Difference*: -49.2 dBFS (L) -50.3 dBFS (R)

MOTU 828 MK3 hybrid (South Paul)
4.5 dB (L), 4.4 dB (R) Corr Depth: 30,0 dB (L), 31,6 dB (R) Difference*: -48.3 dB (L), 48.4 dB (R)

Avid HD I/O 16x16 Analog (Pezzn)
-0,0 dB (L), -0,0 dB (R)..Corr Depth: 28,8 dB (L), 30,6 dB (R) Difference*: -47.7 dBFS (L), -48.1 dBFS (R)

SPL Madison (living sounds) - Early production unit
0.0 dB (L), 0.0 dB (R) Corr Depth: 27,3 dB (L), 28,9 dB (R) Difference*: -47.6 dBFS (L), -49.0 dBFS (R)

SSL Alpha-Link MX 16-4 (Sankly)
0,1 dB (L), 0,1 dB (R)..Corr Depth: 27,2 dB (L), 28,8 dB (R) Difference*: -47.6 dBFS, -48.9 dBFS

Dell Optiplex 755 (Winston Tones)
Front jack analog out to rear mini-jack line in 1.2 dB (L), 1.3 dB (R)..Corr Depth: 27,0 dB (L), 28,6 dB (R) Difference*: -47.4 dBFS (L) , -48.8 dBFS (R)
Front jacks: 1,7 dB (L), 1,3 dB (R)..Corr Depth: 25,3 dB (L), 26,8 dB (R) Difference: -44.8 dBFS (L) , -45.9 dBFS (R)
Rear mini-jacks: -0,4 dB (L), -0,3 dB (R)..Corr Depth: 11,9 dB (L), 13,9 dB (R) Difference: -31.5 dBFS (L) , -32.8 dBFS (R)

DAD AX24 ([email protected])
-0,1 dB (L), -0,1 dB (R) Corr Depth: 27,4 dB (L), 28,9 dB (R) Difference*: -46.8 dBFS (L), -47.3 dBFS (R)

Behringer ADA8200 (didier.brest)
gain @ 10 o'clock : 4.3 dB (L), 4.6 dB (R)..Corr Depth: 27,6 dB (L), 29,2 dB (R) Difference*: -46.6 dBFS (L) , -47.7 dBFS (R)
gain mini : 14,7 dB (L), 14,3 dB (R)..Corr Depth: 27,9 dB (L), 29,5 dB (R) Difference: -46,8 dBFS (L) , -47,9 dBFS (R)

Echo Audiofire 4
syns 0.4 dB (L), 0.4 dB (R) Corr Depth: 26,3 dB (L), 27,6 dB (R) Difference*: -46.7 dBFS (L), -47.8 dBFS (R)
david1103 0,5 dB (L), 0,4 dB Corr Depth: 25,6 dB (L), 27,4 dB (R) Difference: -45,2 dBFS (L), -46,3 dBFS (R)

Antelope Audio Eclipse 384 (Giuseppe Zaccaria)
-0.1 dB (L), -0.2 dB (R) Corr Depth: 26,3 dB (L), 27,8 dB (R) Difference*: -46.6 dBFS (L) -47.9 dBFS (R)

Universal audio Apollo 8 Quad (kmr)
0.1 dB (R) 0.1 dB (L) Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -46.4 dBFS (L), -47.4 dBFS (R)

Apogee Ensemble Thunderbolt (kmr)
0,2 dB (L), 0,3 dB (R)..Corr Depth: 25,2 dB (L), 26,8 dB (R) Difference*: -45.7 dBFS (L), -47.1 dBFS (R)

Echo 2 (bezen4UK)
2,3 dB (L), 2,3 dB (R)..Corr Depth: 26,9 dB (L), 28,6 dB (R) Difference*: -45.7 dBFS (L), -47.0 dBFS (R)

Universal Audio Apollo Quad (davidbayles)
0.3dB (L), 0.3dB (R). Corr Depth: 26,5 dB (L), 28,0 dB (R). Difference*: -45.7 dBFS (L), -46.4 dBFS (R)

E-MU 1616M
(vechung): 9.7 dB (L), 9.6 dB (R)..Corr Depth: 26,3 dB (L), 28,4 dB (R) Difference*: -45.5 dBFS (L), -46.5 dBFS (R)
left channel only (ben): -0.4 dB (L), Corr Depth: 28,9 dB (L) Difference: -47.7 dBFS (L)

Focusrite Saffire PRO 40 (MusicManic)
-0.566 dB (L), 0.293 dB (R) Corr Depth: 27,8 dB (L), 32,0 dB (R) Difference*: -45.3 dBFS (L), -44.6dBFS (R)

Mackie Onyx Blackjack (kegn51)
2,9 dB (L), 2,9 dB (R) Corr Depth: 30,5 dB (L), 32,3 dB (R) Difference*: -45.1 dB (L), -44.5 dB (R)

M-Audio FireWire 410 (JonasNorberg)
0.2dB (L) 0.2dB (R)..Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference*: -44.9 dBFS (L), -46.4 dBFS (R)

M-Audio Profire 2626 (cylens)
-0.5 dB (L), -0.5 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference*: -44.8 dBFS (L), -46.1 dBFS (R)

ESI ESP1010 (Agustin Mongelli)
-0,2 dB (L), -0,2 dB (R) Corr Depth: 24,0 dB (L), 25,7 dB (R) Difference*: -44.4 dBFS (L) , -45.9 dBFS (R)

Echo Audiofire 8 non adat CS4272 (guze)
0,8 dB (L), 0,9 dB (R) Corr Depth: 26,4 dB (L), 28,2 dB (R) Difference*: -44.0 dBFS (L) -43.9 dBFS (R)

MOTU HD192 (delchambre on Audiofanzine)
1.0 dB (L), 1.0 dB (R) Corr Depth: 23,4 dB (L), 25,0 dB (R) Difference*: -43.8 dBFS (L), -45.3 dBFS (R)

ECHO INDIGO io (bezen4uk)
0,6 dB (L), 0,6 dB (R) Corr Depth: 26,1 dB (L), 27,8 dB (R) Difference*: -43,8 dB (L), -43,7 dB (R)

RME HDSPe AIO(Touf on Pragmatic Audio)
0.7 dB (L), 0.7 dB (R) Corr Depth: 23,0 dB (L), 24,5 dB (R) Difference*: -43,4 dBFS (L) , -44,7 dBFS (R)

RME Multiface II (juki, Audiofanzine)
Unbalanced, -10 dBV: 0.5 dB (L), 0.4 dB (R) Corr Depth: 22,7 dB (L), 24,4 dB (R) Difference*: -43.2 dBFS (L) -44.6 dBFS (R)
Balanced, 4 dBu: Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L) -43,0 dBFS (R)

2011 MacBook Pro (stinkyfingers)
3.5 dB (L), 3.5 dB (R) Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference*: -43.1 dBFS (L), -43.6 dBFS (R)

RME Fireface 800
genelec79: 0.3 dB (L), 0.3 dB (R) Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference*: -42.6 dBFS (R), -44.1 dBFS (L)
-10 dBV outputs to low gain inputs (syns): 15,547dB (L), 15,601dB (R)..Corr Depth: 14,5 dB (L), 15,9 dB (R) Difference: -31.9 dBFS (L), -31.6 dBFS (R)

MOTU Traveler MK1 (sinebox)
2.0 dB (L), 2.1 dB (R) Corr Depth: 22,2 dB (L), 23,9 dB (R) Difference*: -42.6 dBFS (L), -44.1 dBFS (R)

MOTU Traveler MK1 with Black Lion Mod (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference*: -41.8 dBFS (L), -43.2 dBFS (R)

MOTU UltraLite (dheming)
0.6 dB (L), 0.5 dB (R)..Corr Depth: 21,1 dB (L), 22,6 dB (R) Difference*: -41.6 dBFS (L), -42.8 dBFS (R)

Avid Mbox 3 (Coucou)
5,1 dB (L), 5,1 dB (R) Corr Depth: 21,8 dB (L), 23,6 dB (R) Difference*: -41.3 dBFS (L), -42.0 dBFS (R)

Steinberg UR824 (kegn51)
-0.4 (L), 0.2 dB (R) Corr Depth: 20,5 dB (L), 22,2 dB (R) Difference*: -41.0 dBFS (L), -42.3 dBFS (R)

Sony Vaio [email protected] (kegn51)
2.2 dB (L), 2.3 dB (R) Corr Depth: 20,4 dB (L), 22,0 dB (R) Difference*: -40.9 dBFS (L) , -42.7 dBFS (R)

Tascam DA-3000 (dheming)
0,5 dB (L), 0,4 dB (R)..Corr Depth: 22,5 dB (L), 24,0 dB (R) Difference: -40.5 dBFS (L), -40.7 dBFS (R)

Apogee Duet2 (isma)
1.0 dB (L), 1.0 dB (R) Corr Depth: 19,8 dB (L), 21,4 dB (R) Difference*: -40.2 dBFS (L) -41.6 dBFS (R)

Yamaha Steinberg MR816X (didier.brest)
1.1 dB (L), 0.5 dB (R) Corr Depth: 19,1 dB (L), 21,0 dB (R) Difference*: -39.9 dB (L), -41.2 dB (R)

Antelope Audio Orion (davidbayle)
0.3 dB (L), 0.2 dB (R) Corr Depth: 19,2 dB (L), 20,7 dB (R) Difference*: -39.6 dBFS (L), -40.9 dBFS (R)

Tascam US-144MKII (capn357)
0,2 dB (L), 0,4 dB (R)..Corr Depth: 18,6 dB (L), 20,2 dB (R) Difference*: -39.0 dBFS (L), -40.4 dBFS (R)

RME Fireface UFX (didier.brest)
XLR outputs 1-2 to TRS inputs 3-4: 0.8 dB (L), 0.7 dB (R) Corr Depth: 18,5 dB (L), 20,1 dB (R) Difference*: -39.0 dBFS (L), -40.3 dBFS (R)
TRS outputs 5-6 to TRS inputs 3-4: 0,7 dB (L), 0,7 dB (R) Corr Depth: 18,4 dB (L), 20,1 dB (R) Difference*: -38,8 dBFS (L), -40,3 dBFS (R)
outputs 1-2 to XLR preamp inputs 9-10: 0,5 dB (L), 0,4 dB (R) Corr Depth: 14,7 dB (L), 16,2 dB (R) Difference: -35,0 dBFS (L) -36,3 dBFS (R)

Focusrite Saffire Pro 24 DSP (CoolColJ), first 45s part disregarded
5,2 dB (L), 5,2 dB (R) Corr Depth: 20,2 dB (L), 22,0 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)

Apogee PSX-100 (Winston Tones)
0.8 dB (L), 0.8 dB (R) Difference*: -38.5 dBFS (L), -39.9dBFS (R)

Focusrite Forte (Coucou)
9,9 dB (L), 9,9 dB (R) Corr Depth: 18,3 dB (L), 19,8 dB (R) Difference: -38,3 dBFS (L), -39,4 dBFS (R)

Focusrite Liquid Saffire 56, Line output to microphone input + pad (Melodeath)
0,2 dB (L), 0,2 dB (R) Corr Depth: 17,9 dB (L), 19,3 dB (R) Difference: -37,9 dBFS (L) -38,9 dBFS (R)

Digidesign 003 Rack
dheming: 0,4 dB (L), 0,5 dB (R) Corr Depth: 18,6 dB (L), 20,0 dB (R) Difference: -38.3 dBFS (L), -39.1 dBFS (R).
Shptq: 0.5 dB (L), 0,5 dB (R) Corr Depth: 18,4 dB (L), 20,2 dB (R) Difference*: -38.5 dBFS (L), -39.8 dBFS (R)

Echo AudioFire 2 (dheming)
0.6 dB (L), 0.2 dB (R) Corr Depth: 20,8 dB (L), 21,9 dB (R) Difference*: -37.8 dBFS (L), -37.9 dBFS (R)

Roland UA-22 Duo Capture-Ex (zoreviy)
5,0 dB (L), 5,1 dB (R)..Corr Depth: 18,2 dB (L), 19,7 dB (R) Difference: -36.5 dBFS (L), -36.2 dBFS (R)

Lavry Blue (Touf on Pragmatic Audio)
Modes Crystal and Narrow : 0,2 dB (L), 0,2 dB (R)..Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference -36,5 dBFS (L) , -37,5 dBFS (R)
Mode Wide: Corr Depth: 16,8 dB (L), 18,3 dB (R) Difference: -36,4 dBFS (L) , -37,6 dBFS (R)

Tascam UH-7000 (sm5)
6,8 dB (L), 6,5 dB (R) Corr Depth: 15,5 dB (L), 17,1 dB (R) Difference: -35.2 dBFS (L) -36.2 dBFS (R)

Asus 11.6" laptop (kegn51)
1,3 dB (L), 1,7 dB (R) Corr Depth: 15,5 dB (L), 17,0 dB (R) Difference: -35,2 dBFS (L) , -36,2 dBFS (R)

Edirol FA-66 (didier.brest)
1.0 dB (L), 0.6 dB (R) Corr Depth: 15,6 dB (L), 17,1 dB (R) Difference*: -34.5 dBFS (L) -35.5 dBFS (R)

Focusrite Scarlett 2i2 (EvgenyStudio)
15,5 dB (L), 15,5 dB (R)Corr Depth: 19,3 dB (L), 23,6 dB (R) Difference*: -32,4 dBFS (L), -31,7 dBFS (R)

Line 6 POD Studio UX2 (Piux)
-0,5 dB (L), -0,4 dB (R) Corr Depth: 11,0 dB (L), 12,5 dB (R) Difference: -30.6 dBFS (L) -31.6 dBFS (R)

RME Babyface (didier.brest)
0.4 dB (L), 0.5 dB (R) Corr Depth: 9,2 dB (L), 10,8 dB (R) Difference*: -29.6 dBFS (L) -30.9 dBFS (R)



External clocking


MOTU 828mkII clocked by Lucid GENx192 (MusicManic)
-0.1 dB (L), -0,0 dB (R) Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L) -58.0 dBFS (R)

Lynx Aurora 8 clocked by (cylens)
Corr Depth: 34,6 dB (L), 36,3 dB (R) Difference: -55.3 dBFS (L) -56.5 dBFS (R)

RME ADI-8 DS Mk III clocked through ADAT by RME HDSP 9652 (maartenl945)
0,2 dB (L), 0,2 dB (R) Corr Depth: 32,9 dB (L), 34,4 dB (R) Difference*: -49.9 dBFS (L), -49.9 dBFS (R)

Ferrofish A16 MK-II clocked by RME HDSPe RayDAT (ST.)
0,3 dB (L), 0,3 dB (R) Corr Depth: 26,6 dB (L), 28,2 dB (R) Difference: -46.3 dBFS (L) -47.3 dBFS (R)

Apogee Rosetta 800 clocked by Universal Audio Apollo (davidbayle)
Corr Depth: 39,7 dB (L), 41,7 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Apogee Rosetta 800 clocked by Antelope Orion (davidbayle)
Corr Depth: 39,6 dB (L), 41,6 dB (R) Difference: -45,9 dBFS (L), -45,8 dBFS (R)

Echo Audiofire 8 with ADAT clocked by RME HDSP 9632 (schtim)
Corr Depth: 25.9 dB (L), 27.5 dB (R) Difference: -45.5 dBFS (L) -46.5 dBFS (R)

M-Audio Profire2626 clocked by RME HDSPe RayDAT (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.1 dBFS (L) -45.0 dBFS (R)

M-Audio Profire2626 clocked by Lynx Aurora8 (cylens)
Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference: -44.0 dBFS (L) -44.9 dBFS (R)

Behringer ADA8000 clocked by RME Fireface UFX (Krisprolls on Pragmatic Audio)
minimum gain : 13,4 dB (L), 13,4 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Diff. -44,0 dBFS (L) , -45,3 dBFS (R)
gain @ 4 : 1,2 dB (L), 1,4 dB (R)..Corr Depth: 23,9 dB (L), 25,5 dB (R) Diff. -42,3 dBFS (L) , -44,5 dBFS (R)

RME Octamic XTC clocked by RME Fireface UFX (Loicm on Pragmatic Audio) - Unbalanced phone output to
unbalanced instrument inputs 5-6, 13 dB gain: 1,0 dB (L), 1,0 dB (R)..Corr Depth: 22,8 dB (L), 24,4 dB (R) Difference*: -43.3 dBFS (L), -44.6 dBFS (R)
balanced line inputs 1-2, 10 dB gain: 4,5 dB (L), 4,5 dB (R)..Corr Depth: 19,4 dB (L), 21,0 dB (R) Difference*: -39.8 dBFS (L), -41.2 dBFS (R)

Universal Audio Apollo clocked by Apogee Rosetta (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

Universal Audio Apollo clocked by Antelope Orion (davidbayle)
Corr Depth: 26,5 dB (L), 28,0 dB (R) Difference: -42,7 dBFS (L), -43,0 dBFS (R)

RME Fireface 800 clocked by Yamaha 02R (genelec79)
Corr Depth: 22,3 dB (L), 23,9 dB (R) Difference: -41,9 dBFS (L), -43,0 dBFS (R)

Motu Traveler MK1 clocked by Lynx Aurora 16 or Black Lion Micro Clock mk1 (antichef)
2,0 dB (L), 2,0 dB (R)..Corr Depth: 21,4 dB (L), 23,0 dB (R) Difference: -41.1 dBFS (L), -42.1 dBFS (R)



Couples of different converters


Synchronised mode ('master' indicates which converter delivers the master clock)

Forssell MDAC-4 ----> Focusrite Blue 245 master, (funkakuchi on Pragmatic Audio = funka on Gearslutz)
Focusrite sensitivity 0 dBFS = 16 dBu
0,1 dB (L), 0,0 dB (R) Corr Depth: 64.7 dB (L), 65.7 dB (R) Difference: -77.1 dBFS (L) -78.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 10
4.0 dB (L), 4.0 dB (R) Corr Depth: 66.9 dB (L), 69.8 dB (R) Difference*: -81.2 dBFS (L) -81.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 53
3.9 dB (L) 4.0 dB (R) Corr Depth: 69,4 dB (L), 71,5 dB (R) Difference*: -80.1 dB (L), -80.1 dB (R)

SPL Madison ---> Texas Instrument PCM4222 Evaluation Module master (living sounds) . Details of the clocking.
0,2 dB (L), 0,2 dB (R) Corr Depth: 78,7 dB (L), 81,2 dB (R) Difference*: -80.1 dBFS, -80.1 dBFS

MSB Platinum IV Plus DAC ---> MSB Studio ADC master (DUJS)
4,9 dB (L), 4,9 dB (R) Corr Depth: 62,8 dB (L), 63,4 dB (R) Difference: -77,7 dBFS (L), -77,4 dBFS (R)

ReQuest Audio, The Beast DAC master ---> MSB Platinum Studio ADC (DUJS)
Corr Depth: 62,0 dB (L), 63,4 dB (R) Difference: -76,9 dBFS (L), -76,3 dBFS (R)

Swissonic DA24 MkII ---> Texas Instrument PCM4222 Evaluation Module master + DC offset removal (living sounds)
0,1 dB (L), 0,1 dB (R) Corr Depth: 82,6 dB (L), 85,5 dB (R) Difference*: -73.0 dBFS (L), -73.8 dBFS (R)

ESI [email protected] XTe DAC ---> MSB Studio ADC master (DUJS)
Corr Depth: 46,0 dB (L), 48,0 dB (R) Difference: -65,3 dBFS (L), -66,7 dBFS (R)

Forsell MADA-2 ---> Antelope Pure2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

Swissonic DA24 MkII ---> Black Lion Audio Sparrow mkII (living sounds)
0,6 dB (L), 0,6 dB (R) Corr Depth: 36,0 dB (L), 37,6 dB (R) Difference*: -56.4 dBFS (L) , -57.8 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC master (dheming)
1,1 dB (L), 1,0 dB (R)..Corr Depth: 35,5 dB (L), 37,0 dB (R) Difference: -55,2 dBFS (L), -56,3 dBFS (R)

Metric Halo LIO-8 ---> Burl B2 Bomber ADC (Antoine Fabi)
LIO-8 or B2 WC master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R), Difference: -54.8 dBFS (L), -55,7 dBFS (R), Difference* (B2 WC master): -55.7 dBFS (L), -57.0 dBFS (R)
B2 AES master, -14 dB / -16 dB B2 input: 1,8 dB / 3,8 dB (L), 1,8 / 3,8 dB (R)..Corr Depth: 35,3 dB (L), 36,8 dB (R) Difference: -54.8 dBFS (L), -55,6 dBFS (R)

RME Fireface 400 ---> MOTU 828mkII, 2 tests: RME or MOTU clock (MusicManic)
5,1 dB (L), 5,2 dB (R) Corr Depth: 35,1 dB (L), 36,7 dB (R) Difference: -54.7 dBFS (L), -55.7dBFS (R)

Forsell MDAC-4 ---> Studer D19 master (funkakuchi on Pragmatic Audio)
0,1 dB (L), 0,1 dB (R) Corr Depth: 34,3 dB (L), 36,2 dB (R) Difference: -53.9 dBFS (L), -55.3 dBFS (R)

Lynx Aurora 16 ---> Focusrite Blue 245 master (funkakuchi on Pragamatic Audio)
0,04 dB (L), 0,02 dB (R) Corr Depth: 63,4 dB (L), 62,2 dB (R) Difference*: -53.4 dBFS(L) -52.5 dBFS(R)

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module master (living sounds)
Synchro lock off: 0.1 dB (L), 0.1 dB (R) Corr Depth: 65,6 dB (L), 63,8 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)
Synchro lock on: 0.311 dB (L), 0.317 dB (R) Difference*: -53.4 dBFS (L), -52.5 dBFS (R)

Motu 24Ao ---> Lynx Aurora 8 (leolycra)
Motu master: -0.2 dB (L), -0.2 dB (R) Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R) Difference*: -50.2 dBFS (L), -49.7 dBFS (R)
Lynx master: -0,2 dB (L), -0,2 dB (R)..Corr Depth: 34,7 dB (L), 36,6 dB (R) Difference: -46.3 dBFS (L), -46.1 dBFS (R)

Antelope Pure2 ---> Forsell MADA-2 (MattGray)
0.0 dB (L), 0.0 dB (R)..Corr Depth: 29.7 dB (L), 31.3 dB (R) Difference*: -50.1 dBFS (L), -51.5 dBFS (R)

Lavry DA924 ---> Lavry AD122-96MkII clocked by Antelope Isochrone Trinity + Antelope Isochrone 10M (Winston Tones)
0,0 dB (L), 0,0 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference*: -50.0 dBFS (L), -51.3 dBFS (R)

Forsell MDAC-4 ---> Forsell MADC-2 (first version) master (funkakuchi on Pragmatic Audio)
0,5dB (L), 0,5 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference: -49,2 dB (L), -50,3 dB (R)

Focusrite Saffire PRO 40 ---> MOTU 828mkII, 2 tests: Focusrite or MOTU clock (MusicManic)
2,4 dB (L), 2,4 dB (R) Corr Depth: 34,2 dB (L), 36,0 dB (R) Difference: -46.6 dBFS (L), -46.6dBFS (R)

Audient iD22 ---> Behringer ADA8200 master (Hardtailed)
2,0 dB (L), 2,5 dB (R)..Corr Depth: 28,4 dB (L), 30,6 dB (R) Difference: -46.5 dBFS (L), -48.1 dBFS (R)

Tascaml UH-7000 ---> Lynx Hilo master (sm5)
1,0 dB (L), 1,0 dB (R)..Corr Depth: 36,7 dB (L), 38,5 dB (R) Difference: -46.2 dBFS (L), -45.9 dBFS (R)

Emotiva XDA-1 ---> Prism Lyra 1 (capn357)
0,0 dB (L), 0,0 dB (R)..Corr Depth: 25,8 dB (L), 27,7 dB (R) Difference: -44.7 dBFS (L), -45.5 dBFS (R)

MOTU 828mkII ---> RME Fireface 400, 2 tests: MOTU or RME clock (MusicManic)
0,3 dB (L), 0,5 dB (R) Corr Depth: 24,5 dB (L), 26,3 dB (R) Difference: -44.1 dBFS (L), -45.3dBFS (R)

Behringer ADA8200 ---> Audient iD22 master (Hardtailed)
2,8 dB (L), 2,9 dB (R)..Corr Depth: 28,5 dB (L), 30,1 dB (R) Difference: -42.9 dBFS (L), -42.8 dBFS (R)

MOTU 828mkII ---> Focusrite Saffire PRO 40, 2 tests: MOTU / Focusrite clock (MusicManic)
1,3 dB (L), 1,8 dB (R)Corr Depth: 25,9 dB / 25,8 (L), 29,9 dB (R) Difference: -42.2 / -42.1 dBFS (L), -44.4dBFS (R)

Tascam-DA3000 ---> Mytek Stereo 192 ADC master (dheming)
3,4 dB (L), 3,3 dB (R)..Corr Depth: 27,0 dB (L), 28,3 dB (R) Difference: -39.9 dBFS (L), -39.4 dBFS (R)

Digidesign Rack ---> Mytek Stereo 192 ADC master (dheming)
0,7 dB (L), 0,7 dB (R)..Corr Depth: 17,7 dB (L), 19,0 dB (R) Difference: -38.1 dBFS (L), -39.1 dBFS (R)

Atoll DAC200 --> RME Babyface master (didier.brest)
Corr Depth: 10,1 dB (L), 11,9 dB (R) Difference: -30,0 dBFS (L) -31.3 dBFS (R)

RME Babyface --> RME Fireface 400 (didier.brest)
Corr Depth: 16,6 dB (L), 18,4 dB (R) Difference: -29,4 dBFS (L), -28,8 dBFS (R)

Benchmark DAC1 phone output ---> Echo Audiofire 4 (david1103)
Corr Depth: 10,4 dB (L), 10,2 dB (R) Difference: -22,6 dBFS (L), -23,1 dBFS (R)

Unsynchronized mode. The DA and AD converters run each on its own clock. Measurement performed with sample rate drift correction activated in Audio DiffMaker and limited to the first half of the sample. Because the RMS level of this first half is 1 dB lower than the RMS level of the full-size sample, one must increase the difference RMS level figures by 1 dB for comparison with the synchronized mode.

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module (living sounds)
Aurora clock at 44.1 kHz: 0.3 dB (L), 0.3 dB (R), rate adj=-0,0749 ppm. Corr Depth: 61,8 dB (L), 59,3 dB (R) Difference*: -54.8 dBFS (L), -53.9 dBFS (R)
Aurora clock at 88.2 kHz: 0.3 dB (L), 0.3 dB (R). rate adj=1,0352 ppm.Corr Depth: 65,9 dB (L), 69,9 dB (R) Difference*: -65.4 dBFS (L), -66.2 dBFS (R)

Benchmark DAC2 HGC ---> Mytek Stereo 192 ADC (dheming)
4,1 dB (L), 4,1 dB (R). rate adj=4,4143 ppm.Corr Depth: 36,1 dB (L), 38,1 dB (R) Difference: -56.9 dBFS (L), -58.2 dBFS (R)

Forsell MDAC-4 ---> Alesis Masterlink ML-9600 (funkakuchi on Pragmatic Audio)
1,1 dB (L), 1,2 dB (R). rate adj=7,8413 ppm.Corr Depth: 34,6 dB (L), 36,2 dB (R) Difference: -55.3 dBFS (L), -56.5 dBFS (R)

Lavry DA11 ---> Benchmark ADC1 (non USB, 2005) ---> Tascam US-366 (usernaim)
4,2 dB (L), 3,7 dB (R). rate adj=1,2144 ppm.Corr Depth: 33,3 dB (L), 38,7 dB (R) Difference: -52.2 dBFS (L), -57.8 dBFS (R)

Musical Fidelity V-Link ---> Benchmark DAC1 ---> TC Electronic Konnekt 8 (usernaim)
5,4 dB (L), 4,9 dB (R). rate adj=-1,5532 ppm.Corr Depth: 30,1 dB (L), 32,2 dB (R) Difference: -50.8 dBFS (L), -52.1 dBFS (R)

BenchmarkDAC2 HGC ---> Digidesign Rack (dheming)
5,5 dB (L), 5,5 dB (R). Rate adjustment unnecessary.Corr Depth: 35,5 dB (L), 37,9 dB (R) Difference: -49.4 dBFS (L), -49.2 dBFS (R)

JDS Labs ODAC ---> Echo AudioFire 4 (syns)
10,2 dB (L), 10,2 dB (R). rate adj=8,1413 ppm.Corr Depth: 26,5 dB (L), 28,6 dB (R) Difference: -47.2 dBFS (L), -48.6 dBFS (R)

MOTU Ultralite ---> Mytek Stereo 192 ADC (dheming)

1,5 dB (L), 1,5 dB (R). rate adj=0,0474 ppm.Corr Depth: 36,8 dB (L), 39,1 dB (R) Difference*: -46.9 dBFS (L), -46.2 dBFS (R)

ATOLL DAC 200 --> RME Fireface UFX (didier.brest)
2,3 dB (L), 2,4 dB (R). rate adj=8,8289 ppm.Corr Depth: 23,2 dB (L), 25,3 dB (R) Difference: -44,0 dBFS (L), -45,4 dBFS (R)

JDS Labs ODAC ---> RME Fireface 800 (syns)
5,3 dB (L), 5,3 dB (R). rate adj=-1,5467 ppm.Corr Depth: 23,2 dB (L), 25,5 dB (R) Difference: -43.8 dBFS (L), -45.3 dBFS (R)

Benchmark DAC2 HGC ---> Marantz PMD661 (dheming)
4,1 dB (L), 4,5 dB (R). rate adj=14,8525 ppm.Corr Depth: 23,0 dB (L), 25,1 dB (R) Difference: -43.8 dBFS (L), -45.2 dBFS (R)

Tascam DA-3000 ---> Mytek Stereo 192 ADC (dheming)
3,4 dB (L), 3,3 dB (R). rate adj=0,0426 ppm.Corr Depth: 27,7 dB (L), 29,3 dB (R) Difference*: -42.8 dBFS (L), -42.7 dBFS (R)

Benchmark DAC2 HGC ---> Tascam DA-3000 (dheming)
3,1 dB (L), 3,0 dB (R). rate adj=0,0750 ppm.Corr Depth: 24,0 dB (L), 25,9 dB (R) Difference: -42.5 dBFS (L), -43.0 dBFS (R)

Benchmark DAC2 HGC ---> MOTU UltraLite (dheming)
5,1 dB (L), 5,0 dB (R). rate adj=0,0102 ppm.Corr Depth: 21,7 dB (L), 23,6 dB (R) Difference: -42.3 dBFS (L), -43.6 dBFS (R)

Benchmark DAC2 HGC ---> (dheming)
8,3 dB (L), 8,2 dB (R). rate adj=-8,6552 ppm.Corr Depth: 16,4 dB (L), 18,5 dB (R) Difference: -36.9 dBFS (L), -38.3 dBFS (R)

ATOLL DAC 200 --> RME Babyface (didier.brest)
Rate adj=-4,3193 ppm.Corr Depth: 10,8 dB (L), 13,0 dB (R) Difference: -31,5 dBFS (L), -33,1 dBFS

For contributing to this test :
- download the test 2 x 44 kHz x 24 bit wav file (31 Mb),
- cable link the 2 DAC outputs to 2 ADC inputs,
- play back the test file to the DAC outputs and record from the ADC inputs,
- upload to mediafire or any other file sharing site the 2 x 44 kHz x 24 bit wav file from this recording and
- provide the download link here with information about ADC and DAC identities.
Your contribution is welcome even if your converter is already in the above list.
Thank you !
Old 20th February 2016
  #1255
Gear Maniac
 

I too am curious to the reported Hilo results. All results but one is within 0.2 dB. One result differs to the others by about 12 dB! Any news on why this is?

Last edited by ljudatervinning; 21st February 2016 at 09:45 AM..
Old 21st February 2016
  #1256
Lives for gear
 
Analogue Mastering's Avatar
Quote:
Originally Posted by ljudatervinning View Post
I two is curious to the reported Hilo results. All results but one is within 0.2 dB. One result differs to the others by about 12 dB! Any news on why this is?
Human error, broken unit, grounding problems, who knows?
Old 22nd February 2016
  #1257
Gear Head
 
vintagetube's Avatar
Funny that this "measuring" still continues. I have my doubts that the values shown are accurate in terms of that they have any deeper relevance.
I can only say, better trust your own ears than basing your purchase decisions on those numbers.
Old 23rd February 2016
  #1258
Lives for gear
 
funka's Avatar
Quote:
Funny that this "measuring" still continues. I have my doubts that the values shown are accurate in terms of that they have any deeper relevance.
Once you dig a little, you'll find that measures are far from inaccurate.

Quote:
I can only say, better trust your own ears than basing your purchase decisions on those numbers.
The good thing is to correlate listening with numbers, what does your ears tell you?
Old 26th February 2016
  #1259
Gear Head
 

Quote:
Originally Posted by vintagetube View Post
Funny that this "measuring" still continues. I have my doubts that the values shown are accurate in terms of that they have any deeper relevance.
I can only say, better trust your own ears than basing your purchase decisions on those numbers.
This test is all about DA/AD transparency, i.e. altering the original content as little as possible. Based upon your handle (VintageTUBE), I'm guessing that you are a fan of tube based gear. If that is the case, I would further presume that transparency would likely be of little interest to you.

It is very much a personal choice. Some folks prefer subjective descriptors like "warm", "alive", "bright", "punch", etc while others prefer more quantitative terms like "frequency response", "distortion level", "slew rate", "phase linearity", etc.
Old 1st March 2016
  #1260
Gear Maniac
The Diff 'measuring' of AD-DA only shows for its most part the mid-frequency effect of phase shifting due to low frequency subsonic filtering of the analog part of the AD/DA (for DC-content removal purpose). Plus phase shifting due to latency of the inner DSP, which is likely not a multiple of samples. The high-freq phase is affected by the decimation filter (soft vs sharp).

It does not measure anything of the digital 'transparency'. Some (great) converter manufacturers do implement low-freq subfiltering in their design, some don't (often cheap ones).

To me, all this measurement is non scientific and not far from being pointless. The idea was good though.

Last edited by Dzoing; 1st March 2016 at 06:39 PM..
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