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Evaluating AD/DA loops by means of Audio Diffmaker
Old 23rd October 2018
  #1681
Here are 4 more:

Orion 32HD into itself
Metric Halo ULN8 3D into itself
ZOD Audio modded Ross Martin Audio AES8 into ULN8 3D (master)
ZOD Audio AES8 into ZOD Audio modded RMA PCM4222 (slave to ULN8 3D)

File delivery from Actual Size Audio

Thanks!
Old 23rd October 2018
  #1682
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Quote:
Originally Posted by Actualsizeaudio View Post
Orion 32HD into itself

Antelope Orion32 HD

ADM: -23,34usec, 0,120dB (L), 0,145dB (R)..Corr Depth: 29,4 dB (L), 31,0 dB (R) Difference: -45.0 dBFS (L), -46.2 dBFS (R)
Matlab: -27.53 µs, 0.1153 dB (L), 0.1413 dB (R) Difference: -46.8 dBFS (L), -47.9 dBFS (R)

To be added to the next issue of the list of results.

Three remaining loopback files from Actulasizeaudio to be measured later on.
Old 24th October 2018
  #1683
Gear Head
 

Quote:
Originally Posted by Coucou View Post
According to this test the old Motu boxes are as good as the Top converters from Lynx and Antelope...

Anyone having used them both from a pure subjective point of view can confirm that? I am being tempted to throw in 150€ just to try it...
Please see my earlier post on this topic and let me know if you have any questions:

Evaluating AD/DA loops by means of Audio Diffmaker
Old 24th October 2018
  #1684
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Quote:
Originally Posted by Actualsizeaudio View Post
Metric Halo ULN8 3D into itself
Metric Halo ULN-8 3d

ADM: -1,824msec, 3,648dB (L), 3,536dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference: -55.9 dBFS (L), -56.9 dBFS (R)
Matlab: -1.82548 ms, 3.6483 dB (L), 3.5359 dB (R) Difference: -56.7 dBFS (L), -58.1 dBFS (R)

To be added to the next issue of the list of results.

Two remaining loopback files from Actulasizeaudio to be measured later on.
Old 24th October 2018
  #1685
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Quote:
Originally Posted by Actualsizeaudio View Post
ZOD Audio modded Ross Martin Audio AES8 into ULN8 3D (master)
ZOD 8 into ULN3D (master)

ADM: -2,984msec, -0,106dB (L), 0,340dB (R)..Corr Depth: 36,1 dB (L), 37,9 dB (R) Difference: -55.7 dBFS (L), -57.1 dBFS (R)
Matlab: -2.98527 ms, -0.1396 dB (L), 0.3406 dB (R) Difference: -56.8 dBFS (L), -58.2 dBFS (R)

To be added to the next issue of the list of results.
Remaining loopback file from Actulasizeaudio to be measured later on.
Old 24th October 2018
  #1686
Can I add this one more?

It's the ULN8 3D into the ZOD2 without engaging the pad on the ZOD, and turning down the out of the ULN8

File delivery from Actual Size Audio

Thank you so much for this.

-Mike

EDIT: Stand by on this one.Had some technical problems......

Last edited by Actualsizeaudio; 25th October 2018 at 04:33 AM..
Old 25th October 2018
  #1687
Gear Nut
 
Coucou's Avatar
 

Smile

Quote:
Originally Posted by capn357 View Post
Please see my earlier post on this topic and let me know if you have any questions:

Evaluating AD/DA loops by means of Audio Diffmaker
Thanks for pointing me to this part of the conversation.

Actually this thread has been driving me nuts because what my ears were telling me was not matching the results of what looks like to be a very precise, and so far not invalidated test, running already for several years.

My ears tell me that my TC Impact Twin sounds much more realistic and better than the Antelope Discrete 4. But both units have the same score in the test.

Then I thought that the TC DAC was very good and its ADC was poor; and on the contrary, on the Discrete 4 the DAC was bad and the ADC was good. But again testing the output from the Impact Twin to the ADC of the Discrete 4 delivered almost exact results than the previous tests running each unit individually (there was only 1 dB of difference).

To add more confusion, by reading some reviews from SOS, sound quality of "theoretically" top converters were described as "amazing", "sumptuous", or "impressive", whereas the sound quality on reviews in the same magazine about other cheaper converters, such as those old Motu boxes, was described simply as "good". However in this test this Motu boxes rank as the highest end.

So I decided to run my own test. I recorded a little improvisation in Pianoteq, which produces sound from a mathematical model, so there is no distortion / coloration / sound degradation from microphone, cables, preamps, ADC. It`s a sound I am used to, and for me it´s easier to determine whats is going on in each converter pass.

And finally I could understand what is going on!!.

By listening the Discrete 4 sample I could hear a lost in detail, a sound degradation producing a less defined and a more metallic sound, and specially a lost of depth. The sound losses big part of its realism.

By listening to the Impact Twin sample, there is no degradation in the sound quality, the depth is 70% there, the high frequencies are mostly there, the sound is natural and real. HOWEVER there is an increase of warmth to the sound. The sound has more low end and the sound is more creamy with a bit of glue (as if it is passed through a high end analog compressor without compressing).

So the conversion is much better in the Impact Twin because it does not lose detail and depth, but then there is this WARMTH added which explains the similar results in the test and could explain the poor results in the test of other top of the range converters.

So since the test is determining the difference in both samples, it does not take into account whether the difference comes from a poor conversion and lost of detail / depth, or by adding warmth and glue. The first is always negative, the second may be negative or not, but the test takes it as negative because by adding warmth the difference in both signals increases.

And thus it may explain why the better sounding TC Impact Twin scores the same as the Discrete 4 and why many high end converters listed in the test score poorly.

I have uploaded the Pianoteq original, the TC Impact Twin into itself and the Discrete 4 into itself, if somebody is interested in listening.

Original + Discrete4 + Impact Twin

Thanks all for the thread!
Old 26th October 2018
  #1688
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Quote:
Originally Posted by Actualsizeaudio View Post
Here are 4 more

ZOD Audio AES8 into ZOD Audio modded RMA PCM4222 (slave to ULN8 3D)
ADM: -3,088msec, 3,677dB (L), 4,117dB (R)..Corr Depth: 29,2 dB (L), 30,8 dB (R) Difference: -48.9 dBFS (L), -49.9 dBFS (R)
Matlab: -3.08978 ms, 3.6523 dB (L), 4.1156 dB (R) Difference: -49.6 dBFS (L), -51.0 dBFS (R)

To be added to the next issue of the list of results.
Old 29th October 2018
  #1689
Gear Head
 

Emotiva XMC-1 to Lynx HILO

Here's another synchronized pair.

Emotiva XMC-1 -> Lynx HILO clocked by HILO digital coax.

Box
Old 29th October 2018
  #1690
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Quote:
Originally Posted by capn357 View Post
Emotiva XMC-1 -> Lynx HILO clocked by HILO digital coax.
ADM: -110msec, 0,247dB (L), 0,251dB (R)..Corr Depth: 41,7 dB (L), 43,8 dB (R) Difference: -45.9 dBFS (L), -45.6 dBFS (R)
Matlab: -109.97976 ms, 0.2476 dB (L), 0.2496 dB (R) Difference: -51.0 dBFS (L), -50.0 dBFS (R)

To be added to the next issue of the list of results.
Old 2nd November 2018
  #1691
Gear Nut
 
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Universal Audio Apollo X6 Loopback file:

UA Apollo X6


It's hard when you realize that you have been lured again by strong marketing campaigns...What a flat and distorted sound from its DAC!! Let's see how it scores but the sound from the DAC is very poor to my ears. Had great hopes with this, but decided to return it after 10 minutes of tests. My aging TC Impact Twin sounds so much dynamic, detailed and real to me than this well built and well marketed box.
Old 2nd November 2018
  #1692
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Quote:
Originally Posted by Coucou View Post
Universal Audio Apollo X6 Loopback file:

UA Apollo X6
ADM: -71,34usec, 0,074dB (L), 0,068dB (R)..Corr Depth: 26,8 dB (L), 28,4 dB (R) Difference: -44.3 dBFS (L), -45.5 dBFS (R)
Matlab: -75.66 µs, 0.0630 dB (L), 0.0624 dB (R) Difference: -45.6 dBFS (L), -46.9 dBFS (R)

To be added to the next issue of the list of results.
Old 3rd November 2018
  #1693
Gear Nut
 
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Quote:
Originally Posted by didier.brest View Post
ADM: -71,34usec, 0,074dB (L), 0,068dB (R)..Corr Depth: 26,8 dB (L), 28,4 dB (R) Difference: -44.3 dBFS (L), -45.5 dBFS (R)
Matlab: -75.66 µs, 0.0630 dB (L), 0.0624 dB (R) Difference: -45.6 dBFS (L), -46.9 dBFS (R)

To be added to the next issue of the list of results.

More than 3dB better than Apollo X16 having worse Specs...

Can somebody explain how some of these newer converters having great specs perform so poorly??
Old 3rd November 2018
  #1694
Gear Nut
 

Quote:
Originally Posted by Coucou View Post
Can somebody explain how some of these newer converters having great specs perform so poorly??
It's interesting, because my subjective impression of what sounds like cleaner conversion matches the results in this thread much closer than it matches their self-reported specs.

In order to remove expectation bias, I've tested myself using the files in this thread and this ABX software.

So the simple answer is obviously that whatever the manufacturers are prioritizing isn't something that is as heavily weighted in this test, but what is that? It seems to me that the high speced newer converters that don't score well here, sound a bit lifeless and dull compared to the original file and the better scoring converters, and I mean lifeless as in that the performance seems subtly less energetic. I'm wondering if they are prioritizing absolute lowest THD+N over accurate representation of the transients.
Old 4th November 2018
  #1695
Gear Head
 

Reminds me of "The Ultimate Converter DA/AD Loopback Shootout Thread!"

Quote:
Originally Posted by capn357 View Post
Please see my earlier post on this topic and let me know if you have any questions:

Evaluating AD/DA loops by means of Audio Diffmaker
I saved part of the "The Ultimate Converter DA/AD Loopback Shootout Thread!" before it disappeared. (I sure wish it could have just been cleaned up, instead of dumped from the Boards.) The results there were very similar to the ones in this thread, but from multiple passes.

Part of it had the "Spectral Analysis Of Null Test Residuals" graphs for each converter. These are definitely interesting, because they illustrate where the greatest residuals lie in the frequency spectrum. I imagine they also shed light on the converter design and impact of the particular ADC and DAC chips used. Observing these graphs and listening to the files seems to explain some of what I hear.

I don't think the old MOTU 828MkII sounds bad to me, but it is less dimensional than some of the newer converters. It's graph shows a smoother distribution across the spectrum, where Hilo has more "bumps" although overall lower in amplitude. The Hilo seems very good, but "narrow" in sound stage, again to my ears. Depending on the kind of music you record, different converters will appeal and be better suited, in my present thinking. The graphs can help us see that. However, post-processing tools, software and outboard, can do so much now to work on the digital files to overcome weaknesses and make them sound better.

So the differences are there, but not all are captured exactly by this test. Still, I really like it and appreciate all the work Didier has put in to keep this going. I've saved every page. Putting the numbers together with listening and thinking of the particular application where the converter will be used is a better approach, although less definitive. There are really good choices for everyone now; we do have amazing tools to work with. While I love a good obsession over finding the right one, there is something really good in just using the tool we choose and making a good recording from it. Every one of these can do that.

Other thoughts? Thanks. Ben

P.S. Still hoping for a test of the SPL Crimson 3 to compare here. I also like the Audio interfaces and their AD/DA chips LISTED thread. Interesting how certain chips show up in better scoring ones in Didier's thread.
Old 5th November 2018
  #1696
Gear Nut
 

So I realized that with the ADI-2 Pro results there is an opportunity to figure out what is being prioritized by Audio Diffmaker, since there are four results from the same interface which only differ according to which filter was chosen. Looking through the manual, I was able to make a couple of observations.

First observation, linear phase scores better than minimum phase. Obviously there is a trade off here. According to Andy Hong's test of the Focusrite Red and Clarett, they have no pre-ringing unlike the other interfaces he's tested. This was obviously a design choice on Focusrite's part, but choosing a minimum phase filter would make their interfaces score lower on the Audio Diffmaker loopback test, if the results are consistent with the different ADI-2 Pro filters.

The next observation is a little harder to explain. The ADI-2 Pro's slow filters roll off the high end more gradually reducing the upper frequencies in exchange for a near perfect impulse response. This near perfect impulse response seems to score higher in the test here than more blurred impulse responses, even though the upper end frequency response is slightly compromised. This makes sense to me because that roll off will be in the inaudible range for most people even at lower sample rates. However near perfect impulse response appears to be less highly weighted by Audio Diffmaker than linear phase.

Here are the filters and their characteristics listed from best scoring to worst:

Sharp = linear phase, full frequency, imperfect impulse response

Slow = linear phase, rolled off top end, near perfect impulse response

SD Slow = minimum phase, rolled off top end, near perfect impulse response

SD Sharp = minimum phase, full frequency, imperfect impulse response

It seems possible that Audient and Universal Audio's recent step backward as far as scores here could be explained by a switch from linear to minimum phase, or some other trade off not weighted well by Audio Diffmaker. According to the manual, the ADI-2 Pro's default setting is the one that scored the lowest here.
Old 6th November 2018
  #1697
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List of results updated with recent tests: Universal Audio Apollo x16 and x6, Focusrite Clarett 4Pre, Universal audio Apollo 8, Antelope Discrete 4 and Orion 32HD, TC Electronics Impact Twin to Antelope Discrete 4 (unsynchronized), Metric Halo ULN-8 3d, ZOD Audio modded Ross Martin Audio AES8 into Metric Halo ULN-8 3d, ZOD Audio modded Ross Martin Audio AES8 into ZOD Audio modded RMA PCM4222.

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
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)
capn357: 0.0 dB (L), 0.1 dB (R)..Corr Depth: 41,8 dB (L), 43,6 dB (R) Difference*: -59.1 dBFS (L), -59.1 dBFS (R)
schizoide on Pragmatic Audio: 0.0 dB (L), 0.0 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)

Lynx Aurora(n) (Mikathechou)
1.1 dB (L), 1.1 dB (R)..Corr Depth: 41,4 dB (L), 43,2 dB (R) Difference*: -58.9 dBFS (L), -59.0 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)

Apogee Symphony I/0 Mk II (Diegel)
-0.4 dB (L), -0.4 (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (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)

Metric Halo ULN-8 3d (Actualsizeaudio)
3.6 dB (L), 3.5 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.1 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)
jeamsler: 6.0 dB (L), 6.0 dB (R)..Corr Depth: 36,4 dB (L), 37,9 dB (R) Difference*: -56.7 dBFS (L), -58.0 dBFS (R)
Xav: 0.1 dB (L), 0.1 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)
Aurora 16-VT, out-in through patch bay, Mikathechou: 1.1 dB (L), 1.1 dB (R)..Corr Depth: 32,8 dB (L), 34,4 dB (R) Difference*: -52.9 dBFS (L), -54.1 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)

RME ADI-2 Pro, balanced out to balanced in (LesC)
Sharp DA - Sharp AD: 0.4 dB (L), 0.4 dB (R)..Corr Depth: 33,6 dB (L), 35,2 dB (R) Difference*: -53.9 dBFS (L), -55.2 dBFS (R)
Slow DA - Slow AD: 0.4 dB (L), 0.3 dB (R)..Corr Depth: 33,6 dB (L), 35,2 dB (R) Difference: -52.8 dBFS (L), -54.3 dBFS (R)
SD Sharp DA - SD Sharp AD: 0.4 dB (L), 0.4 dB (R)..Corr Depth: 33,6 dB (L), 35,3 dB (R) Difference*: -44.5 dBFS (L), -45.5 dBFS (R)
SD Slow DA - SD slow AD: 0.3 dB (L), 0.3 dB (R)..Corr Depth: 33,6 dB (L), 35,2 dB (R) Difference*: -47.9 dBFS (L), -48.9 dBFS (R)
FS version (Archimago, unspecified setting): 0,2 dB (L), 0,2 dB (R)..Corr Depth: 33,6 dB (L), 35,1 dB (R) Difference*: -44.3 dBFS (L), -45.4 dBFS (R)

Alesis io|29 (mistergo): 0.7 dB (L), 0.7 dB (R)..Corr Depth: 33,9 dB (L), 35,6 dB (R) Difference*: -53.9 dBFS (L), -55.0 dBFS (R)

TC Electronic Studio 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)
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)
jeamsler: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 32,8 dB (L), 34,4 dB (R) Difference*: -53.2 dBFS (L), -54.6 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)

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 returns
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 out 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, out 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). Out 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)
IburiedPaul, out 1&2: -0.1 dB (L), 0.1 dB (R) (R)..Corr Depth: 31,3 dB (L), 32,9 dB (R) Difference*: -51.8 dBFS (L), -53.1 dBFS (R)
sm5, out 1-2: 1.2 dB (L), 0.1 dB (R)..Corr Depth: 24,4 dB (L), 30,5 dB (R) Difference*: -51.7 dBFS (L), -53.0 dBFS (R). Out 3-4: 0.2 dB (L), 0.2 dB (R)..Corr Depth: 31,2 dB (L), 32,7 dB (R) Difference*: -51.6 dBFS (R), -52.9 dBFS (L)

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)

Digidesign Digi 002 Rack with Black Lion Audio Signature mod. Line Out 7+8 to Line In 7+8 (jlam): 0.3 dB (L), 0.4 dB (R)..Corr Depth: 30,3 dB (L), 32,1 dB (R) Difference*: -50.7 dBFS (L), -52.1 dBFS (R)

Universal Audio Apollo 16 mkII (antichef)
0.1 dB (L), 0.1 dB (R)..Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -50.7 dBFS (L) , -52.1 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)

Forssell 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)
Mikathechou (DA converters upgraded to 2-a version ones) 1.0 dB (L), 1.0 dB (R)..Corr Depth: 29,7 dB (L), 31,3 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)
Diegel -0.2 dB (L), -0.1 dB (R)..Corr Depth: 43,4 dB (L), 45,6 dB (R) Difference*: -51.1 dBFS (L), -50.1 dBFS (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)

Antelope Orion Studio Rev2017 (jeamsler)
Line Out to Line In: 1.3 dB (L), 1.3 dB (R)..Corr Depth: 27,7 dB (L), 29,3 dB (R) Difference*: -43.6 dBFS (L), -44.8 dBFS (R)
Monitor Out to Line In: 1.3 dB (L), 1.3 dB (R)..Corr Depth: 34,8 dB (L), 36,4 dB (R) Difference*: -49.9 dBFS (L), -50.9 dBFS (R)
Reamp Out to Line In: 6.5 dB (L), 6.5 dB (R)..Corr Depth: 9,9 dB (L), 9,8 dB (R) Difference*: -29.7 dBFS (L), -29.3 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)
jeamsler: 1.5 dB (L), 1.7 dB (R)..Corr Depth: 29,0 dB (L), 30,6 dB (R) Difference*: -49,5 dBFS (L), -50,8 dBFS (R)
Coucou: -0.1 dB (L), -0.0 dB (R) Corr Depth: 29,1 dB (L), 30,4 dB (R) Difference*: -49.5 dBFS (L), -50.5 dBFS (R)
ben: 0.5 dB (L), 0.8 dB (R) Corr Depth: 29,1 dB (L), 30,8 dB (R) Difference*: -49.6 dBFS (L), -50.9 dBFS (R)

MOTU 896HD (fredrikberg)
1.1 dB (L), 1.1 dB (R)..Corr Depth: 29,0 dB (L), 30,5 dB (R) Difference*: -49.4 dBFS (L), -50.7 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)

PreSonus RML32AI (Xav)
-0.8 dB (L), -0.7 dB (R)..Corr Depth: 28,4 dB (L), 30,0 dB (R) Difference*: -48.8 dBFS (L), -50.1 dBFS (R)

RME Babyface Pro (EvgenyStudio)
XLR out to XLR in: -0.1 dB (L), 0.1 dB (R)..Corr Depth: 24,9 dB (L), 32,9 dB (R) (L), Difference*: -43.9 dBFS (L), -48.7 dBFS (R)
Headphone out to line ins: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 34,9 dB (L), 36,5 dB (R) Difference*: -48.8 dBFS (L), -49.8 dBFS (R)

Konnekt Live (livebox) : 7.0 dB (L), 7.0 dB (R)..Corr Depth: 28,2 dB (L), 29,7 dB (R) Difference*: -48.6 dBFS (L), -50.0 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 dBFS (L), 48.4 dBFS (R)
jeamsler: 3.5 dB (L), 3.5 dB (R) Corr Depth: 29,5 dB (L), 31,3 dB (R) Difference*: -48.1 dBFS (L), -48.5 dBFS (R)

Antelope Discrete 4 (Coucou)
0.3 dB (L), 0.3 dB (R)..Corr Depth: 31,0 dB (L), 32,6 dB (R) Difference*: -48.2 dBFS (L), -49.3 dBFS (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)
funkakuchi on Pragmatic Audio: 0.0 dB (L), 0.1 dB (R)..Corr Depth: 27,2 dB (L), 28,8 dB (R) Difference*: -47.7 dB (L), -49.0 dB (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)

Antelope Orion32 HD (Actualsizeaudio
0.1 dB (L), 0.1 dB (R)..Corr Depth: 29,4 dB (L), 31,0 dB (R) Difference*: -46.8 dBFS (L), -47.9 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
Duo (Philip Marinelis): 0.1 dB (L), 0.1 dB (R)..Corr Depth: 30,2 dB (L), 31,8 dB (R) Difference*: -46.3 dBFS (L), -47.4 dBFS (R)
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)

Focusrite Red 4Pre (jacko)
8,6 dB (L), 8.6 dB (R)..Corr Depth: 27,9 dB (L), 29,5 dB (R) Difference*: -46.0 dBFS (L), -47.1 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)

Universal Audio Apollo x6 (Coucou)
0.1 dB (L), 0.1 dB (R)..Corr Depth: 26,8 dB (L), 28,4 dB (R) Difference*: -45.6 dBFS (L), -46.9 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)

E-MU 1212M (tiberius)
0.9 dB (L), 0.8 dB (R)..Corr Depth: 25,7 dB (L), 27,1 dB (R) Difference*: -45.0 dBFS (L), -45.7 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)

Universal Audio Apollo Twin MkII (EvgenyStudio)
Main Outs To Line Ins: 5.9 dB (L), 5.9 dB (R)..Corr Depth: 25,7 dB (L), 27,2 dB (R) Difference*: -43.5 dBFS (L), 44.3 dBFS (R)
Headphones out to Line Ins: 2.9 dB (L), 2.9 dB (R)..Corr Depth: 25,7 dB (L), 27,3 dB (R) Difference*: -44.8 dBFS (L), -46.0 dBFS (R)

Ferrofish A32 (mudseason)
05 dB (L), 0.5 dB (R)..Corr Depth: 25,7 dB (L), 27,4 dB (R) Difference*: -44.8 dBFS (L), -45.4 dBFS (R)

Audient iD44, 1-2 out to Insert Returns 1-2
(sm5)
: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 29,1 dB (L), 30,7 dB (R) Difference*: -44.5 dBFS (L), -45.6 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)

Roland Quad-Capture (IburiedPaul)
ADM: 0.1 dB (L), 0.0 dB (R)..Corr Depth: 23,2 dB (L), 24,5 dB (R) Difference*: -43.5 dBFS (L), -44.8 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) Difference*: -43,4 dBFS (L) , -44,7 dBFS (R)

Focusrite Clarett 4Pre (Coucou)
-0.7 dB (L), -0.8 dB (R)..Corr Depth: 24,2 dB (L), 25,7 dB (R) Difference*: -43.4 dBFS (L), -44.6 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)

Echo MiaMIDI (jeamsler)
0.2 dB (L), 0.3 dB (R)..Corr Depth: 22,7 dB (L), 24,3 dB (R) Difference*: -43,1 dBFS (L), -44,5 dBFS (R)

TASCAM SX-1 (fredrikberg)
10.1 dB (L), 9.7 dB (R)..Corr Depth: 22,8 dB (L), 24,2 dB (R) Difference*: -43.1 dBFS (L), -44.4 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): 15,5 dB (L), 15,6 dB (R)..Corr Depth: 14,5 dB (L), 15,9 dB (R) Difference: -31.9 dBFS (L), -31.6 dBFS (R)
mudseason: 0.6 dB (L), 0.5 dB (R)..Corr Depth: 22,4 dB (L), 23,8 dB (R), Difference*: -42.8 dBFS (L), -44.0 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)

Audient iD 14 (sm5)
8.8 dB (L), 9.1 dB (R)..Corr Depth: 22,2 dB (L), 23,7 dB (R) Difference*: -42.6 dBFS (L), -43.9 dBFS (R)

Universal Audio Apolllo x16 (Philip Marinelis)
0.4 dB (L), 0.4 dB (R)..Corr Depth: 26,7 dB (L), 28,3 dB (R) Difference*: -42.4 dBFS (L), -43.5 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)

Antelope Zen Studio (Chris Perra)
Gain 0: 16.9 dB (L), 16.8 dB (R)..Corr Depth: 21,1 dB (L), 22,7 dB (R) Difference*: -41.6 dBFS (L), -42.9 dBFS (R)
Gain 15: 2.2 dB (L), 1.2 dB (R)..Corr Depth: 20,1 dB (L), 22,5 dB (R) Difference*: -41.5 dBFS (L), -42.9 dBFS (R)

Focusrite Liquid Saffire 56 (eugtone)
0.9 dB (L), 1.3 dB (R)..Corr Depth: 21,9 dB (L), 23,1 dB (R) Difference*: -41.4 dBFS (L), -41.8 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)

SL Alpha-Link AX (eugtone)
0.3 dB (L), 0.4 dB (R)..Corr Depth: 20,2 dB (L), 21,8 dB (R) Difference*: -40.6 dBFS (L), -42.0 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)

MOTU 828es, 5-6 TRS out to 5-6 TRS in (sm5)
0.2 dB (L), 0.2 dB (R)..Corr Depth: 39,3 dB (L), 34,7 dB (R) Difference*: -39.6 dBFS (L), -39.6 dBFS (R)

Eventide H8000FW (jeamsler)
6.0 dB (L), 6.0 dB (R)..Corr Depth: 46,6 dB (L), 45,0 dB (R) Difference*: -39.6 dBFS (L), -39.6 dBFS (R)

Roland UA-25 (bezen4uk)
3.9 dB (L), 3.5 dB (R)..Corr Depth: 18,9 dB (L), 20,3 dB (R) Difference*: -39.3 dBFS (L), -40.5 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)

Behringer XR18 (livebox)
9.5 dB (L), 9.7 dB (R)..Corr Depth: 16,7 dB (L), 18,3 dB (R) Difference*: -37.2 dBFS (L), -38.6 dBFS (R)

Zoom F4 (sm5):
main out in XLR 1-2: 0.1 dB (L), 0.1 dB (R)..Corr Depth: 16,2 dB (L), 17,7 dB (R), Difference*: -36.6 dBFS (L), -38.0 dBFS (R)
main out in unbalanced stereo TRS 5-6 input: 5,5 dB (L), 5,6 dB (R)..Corr Depth: 15,7 dB (L), 17,3 dB (R) Difference*: -36.1 dBFS (L), -37.5 dBFS (R)
stereo TRS 3-4 out to 5-6 IN: 0,9 dB (L), 1,0 dB (R)..Corr Depth: 15,7 dB (L), 17,3 dB (R) Difference*: -36.1 dBFS (L), -37.5 dBFS (R)

Aphex IN2 (_ben)
-0.3 dB (L), 0.3 dB (R) Difference*: -36.6 dBFS (L), -38.0 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)

Steinberg UR22 (jeamsler)
1.5 dB (L), 1.0 dB (R)..Corr Depth: 14,3 dB (L), 15,9 dB (R) Difference*: -34.7 dBFS (L), -36.1 dBFS (R)

Focusrite Scarlett 6i6 2nd Gen (Susceptor)
1.1 dB (L), 1.2 dB (R)..Corr Depth: 14,3 dB (L), 15,8 dB (R) Difference*: -34.7 dBFS (L), -36.0 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)

Sound Devices MixPre-10T (sm5)
x1/x2 1/8" out into 1/8" Aux in: 0.7 dB (L), 0.6 dB (R)..Corr Depth: 14,2 dB (L), 15,5 dB (R) Difference*: -33.5 dBFS (L), -33.5 dBFS (R)
L/R Mini XLR to 1/2 XLR: 0.2 dB (L), 0.5 dB (R)..Corr Depth: 8,7 dB (L), 10,3 dB (R) Difference*: -29.1 dBFS (L), -30.4 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 828 mk2 clocked by Lynx Hilo (capn357)
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 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 RME HDSPe RayDAT (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)

Behringer ADA8200 clocked by RME Digiset (Chris Perra)
Gain @ 11 o'clock: 6.0 dB (L), 5.5 dB (R)..Corr Depth: 25,5 dB (L), 29,0 dB (R) Difference*: -46.6 dBFS (L), -47.7 dBFS (R)
Gain minimum: 14.7 dB (L), 15.3 dB (R)..Corr Depth: 27,4 dB (L), 29,3 dB (R) Difference*: -46.7 dBFS (L), -40.2 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)


Separate converters

Synchronised mode ('master' indicates which converter delivers the master clock when the information is available.)

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., DC filter off.
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

SPL Madison ---> Focusrite Blue 245 master (funkakuchi on Pragmatic Audio)
4.0 dB (L), 4.1 dB (R)..Corr Depth: 68,5 dB (L), 68,7 dB (R) Difference*: -79.0 dBFS (L), -79.5 dBFS (R)

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 (living sounds), DC filter off.
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)

Forssell 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)

Ross Martin AES EIGHT 1794A DAC ---> Metric Halo ULN8 master (Actualsizeaudio)
-0.1 dB (L), -0,3 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

ZOD Audio modded Ross Martin Audio AES8 into Metric Halo ULN-8 3d master (Actualsizeaudio)
-0,1 dB (L), 0,3 dB (R)..Corr Depth: 36,1 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.2 dBFS (R)

Motu 24Ao ---> Antelope Pure2 master (leolycra)
-0.2 dB (L), -0.2 dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference*: -56.8 dBFS (L), -58.1 dBFS (R)

MOTU 828mk2 USB ---> MOTU 828mk2 master (capn357)
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)

Forssell MADA-2 2-a ---> Texas Instrument PCM4222 Evaluation Module master (Mikathechou)
0.7 dB (L), 0.7 dB (R)..Corr Depth: 36,1 dB (L), 37,7 dB (R) Difference*: -56.5 dBFS (L), -57.9 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)

Genex GXD8 ---> Genex GXA8 (Antoine Fabi)
0.1 dB (L), 0.1 dB (R)..Corr Depth: 35,1 dB (L), 36,3 dB (R) Difference*: -55.7 dBFS (L), -55.7 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)

Forssell 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, DC filter off ?.
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)
Mikathechou: 1.1 dB (L), 1.1 dB (R)..Corr Depth: 36,1 dB (L), 37,5 dB (R) Difference*: -51.2 dBFS (L), -50.9 dBFS (R)

Lynx Hilo master ---> MOTU 828mk2 USB (capn357)
2.3 dB (L), 2.3 dB (R)..Corr Depth: 36,1 dB (L), 37,5 dB (R) Difference*: -51.2 dBFS (L), -50.8 dBFS (R)

MOTU 828 mk2 ---> Lynx Hilo master (capn357)
1.6 dB (L), 1.6 dB (R)..Corr Depth: 42,4 dB (L), 44,5 dB (R) Difference*: -51.2 dBFS (L), -50.2 dBFS (R)

Apogee DA-16X ---> Apogee AD-16X (Todd Loomis)
2.4 dB (L), 2.4 dB (R)..Corr Depth: 39,4 dB (L), 41,4 dB (R) Difference*: -50.7 dBFS (L), -49.9 dBFS (R)

Emotiva XMC-1 -> Lynx Hilo master (capn357)
0.2 dB (L), 0.2 dB (R)..Corr Depth: 41,7 dB (L), 43,8 dB (R) Difference*: -51.0 dBFS (L), -50.0 dBFS (R)

Ross Martin Audio AES8 DAC to Ross Martin Audio PCM4222ADC master (Actualsizeaudio)
2.4 dB (L), 2.1 dB (R)..Corr Depth: 29,3 dB (L), 30,7 dB (R) Difference*: -49.7 dBFS (L), -50.9 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)

ZOD Audio modded Ross Martin Audio AES8 into ZOD Audio modded RMA PCM4222 slave to Metric Halo ULN-8 3d (Actualsizeaudio)
3.7 dB (L), 4.1 dB (R)..Corr Depth: 29,2 dB (L), 30,8 dB (R) Difference*: -49.6 dBFS (L), -51.0 dBFS (R)

Antelope Pure2 ---> Forssell 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)

Forssell MDAC-4 ---> Forssell 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)

Forssell MADA-2 --->_Aurora_16-VT master (Mikathechou)
1.0 dB (L), 1.0 dB (R) Corr Depth: 32,7 dB (L), 34,5 dB (R) Difference: -46.2 dBFS (L), -46.2 dBFS (R), Difference*: -49.6 dBFS (L) -49.4 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)

Audient iD 14 ---> Lynx Hilo (sm5)
5.8 dB (L), 5.8 dB (R)..Corr Depth: 25,4 dB (L), 27,1 dB (R) Difference: -45.3 dBFS (L), -46.2 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)

Lynx Aurora 16-VT --->_Forssell MADA-2 master (Mikathechou)

1.1 dB (L), 1,1 dB (R) Corr Depth: 29,6 dB (L), 31,1 dB (R) Difference: -44.3 dBFS (L), -44.4 dBFS (R) Difference*: -48.0 dBFS (L), -48.3 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)

Metric Halo ULN8 DAC to Ross Martin Audio PCM4222ADC (Actualsizeaudio)
ADC master or DAC master: 0.0 dB (L), 0.1 dB (R)..Corr Depth: 17,1 dB (L), 18,5 dB (R) Difference*: -37.5 dBFS (L), -38.7 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). DC filter off.
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)

Forssell 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)

TC Electronics Impact Twin to Antelope Discrete 4 Loopback(Coucou)
5,9 dB (L), 5,9 dB (R). rate adj=4,9685 ppm.Corr Depth: 32,9 dB (L), 34,9 dB (R) Difference: -50.0 dBFS (L), -51.4 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)

Akai Z8 ---> E-MU 1212M (tiberius)
2,7 dB (L), 3,1 dB (R). rate adj=2,7931 ppm.Corr Depth: 27,3 dB (L), 29,7 dB (R) Difference: -47.9 dBFS (L), -49.6 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; 7th November 2018 at 10:52 AM..
Old 30th November 2018
  #1698
Lives for gear
 
Susceptor's Avatar
 

I've been noticing something with the Scarlett 6i6 (it's: while using inputs 1+2 to the headhpone amp, with the amp at maximum I could hear hiss audibly; however, when using outputs 3+4 with the headphone amp, no hiss – everything is pitch black (I switch between outs 3+4 when in Reaper, as I have a dedicated crossfeed plugin on the monitoring path, and 1+2 for normal output). So today I decided to do the loop-back test again, but this time going out 3+4 to in 3+4 (obviously, no plugins on 3+4); this gave better results than 1+2. I don't know why 1+2 differ than 3+4 (even in the specs, 1+2 have a max of +16dbU, and 3+4 have a max of +14.5dbU), but 3+4 should give better transparency and noisefloor.

Anyway, here are the DiffMaker results:

Scarlett 6i6 recorded file: Box
Audio DiffMaker difference file: Box
Audio DiffMaker output: parameters: -19.78usec, 1.161dB (L), 1.171dB (R)..Corr Depth: 17.5 dB (L), 19.1 dB (R)
Old 30th November 2018
  #1699
Gear Head
 

Marked improvement in the results of my hardware if I upconvert to 96KHz.

So I was monkeying around and modified Didier's test protocol as follows:
1. Loaded original2.wav into Audacity and upconverted that from 44.1KHz to 96 KHz.
2. Played 96 KHz version of file out DAC and sampled into ADC at 96 KHz
3. Loaded 96 KHz DAC-ADC loop produced file into Audacity and downconverted that back to 44.1 KHz
4. Analyzed downcoverted file compared to original2.wav via diffmaker and matlab at 44.1 KHz per the usual.

In every scenario involving Lynx Hilo as the ADC, I achieved better results with the modified protocol.

Specifically,

MOTU 828 MK11 -> Lynx HILO
Standard protocol results: Difference*: -51.2 dBFS (L), -50.2 dBFS (R)
96KHz mod protocol results: Difference*: -60.755 dBFS (L), -62.011 dBFS (R)
file produced in step #3 above for this scenario available here:
Box


Emotiva XMC-1-> Lynx HILO
Standard protocol results: Difference*: -51.0 dBFS (L), -50.0 dBFS (R)
96KHz mod protocol results: Difference*: -59.508 dBFS (L), -60.802 dBFS (R)
file produced in step #3 above for this scenario available here:
Box

Lynx HILO in/out
Standard protocol results: Difference*: -59.1 dBFS (L), -59.1 dBFS (R)
96KHz mod protocol results: Difference*: -60.423 dBFS (L), -60.974 dBFS (R)
file produced in step #3 above for this scenario available here:
https://app.box.com/s/jt7at7cxykcvofsa31t8udtknd35bfd4

The only scenarios that came out worse with the modified protocol were any that used the MOTO 828MKII as the ADC (leading me to conclude that this old vintage ADC doesn't do as well at 96 KHz)

Unfortunately, the DAC/ADC looped protocol makes it impossible to isolate the DAC's or the ADC's individual contribution to the improvement, so I can't say, for example, that simply upconverting 44.1KHz sourced material to 96 KHz before playing it out of these various DACs produces a more transparent digital to analog conversion even though the data might lead one to jump to that conclusion.

I was surprised by the level of improvement, especially considering that I'm certainly not gaining any "new information" by simply upconverting the original 44.1 KHz file to 96 KHz .

Last edited by capn357; 1st December 2018 at 12:41 PM.. Reason: adding links to files
Old 30th November 2018
  #1700
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by Susceptor View Post
Scarlett 6i6 recorded file: Box
Audio DiffMaker difference file: Box
ADM: -19,78usec, 1,161dB (L), 1,171dB (R)..Corr Depth: 17,5 dB (L), 19,1 dB (R) Difference: -37.4 dBFS (L), -38.6 dBFS (R)
Matlab: -17.49 µs, 1.1403 dB (L), 1.1505 dB (R) Difference: -37.7 dBFS (L), -38.9 dBFS (R)

To be added to the next issue of the list of results.
Old 30th November 2018
  #1701
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by Susceptor View Post
So today I decided to do the loop-back test again, but this time going out 3+4 to in 3+4
I understand that it is the same unit as the one named mistakingly Saffire 6i6 instead of Scarlett 6i6 in your post on July 14th but with 3+4 out to 3+4 in instead of 1+2 out to 3+4 in. Correct ?
Old 1st December 2018
  #1702
Lives for gear
 
funka's Avatar
 

Quote:
...I was surprised by the level of improvement, especially considering that I'm certainly not gaining any "new information" by simply upconverting the original 44.1 KHz file to 96 KHz .
Interesting test.
Maybe DACs tested here are really better at 96kHz?
Hilo is nearly the same at 44.1kHz.
Hard to tell as it can be DAC and /or ADC...

Filters in ADCs and DACs are not the same at 96kHz than at 44,1kHz.
As the original content is only 0-22,05kHz, applying larger/smoother filters that let pass more frequencies may allow them to be more precise in the 0-22,05kHz zone? Just a thought, as it could be a combination of other reasons...
Old 1st December 2018
  #1703
Lives for gear
 
stinkyfingers's Avatar
 

Quote:
Originally Posted by capn357 View Post
I was surprised by the level of improvement, especially considering that I'm certainly not gaining any "new information" by simply upconverting the original 44.1 KHz file to 96 KHz .
No, but you are losing information due to the OS filter / conversion, that’s why it nulls better.

Last edited by stinkyfingers; 1st December 2018 at 11:38 AM..
Old 1st December 2018
  #1704
Gear Nut
 

Quote:
Originally Posted by capn357 View Post
I was surprised by the level of improvement, especially considering that I'm certainly not gaining any "new information" by simply upconverting the original 44.1 KHz file to 96 KHz .
Quote:
Originally Posted by funka View Post
Filters in ADCs and DACs are not the same at 96kHz than at 44,1kHz.
As the original content is only 0-22,05kHz, applying larger/smoother filters that let pass more frequencies may allow them to be more precise in the 0-22,05kHz zone?
At 96kHz, the filter should only be effecting the range where this is no information. That should explain the bulk of the difference.

Quote:
Originally Posted by stinkyfingers View Post
No, but you are losing information due to the OS filter / conversion, that’s why it nulls better.
It's possible I'm mistaken, but I don't believe there is any need for a filter when upsampling, and any degradation to the file from the upsampling would be minuscule compared to the difference in filtering where there is information vs where there is not. If anything, the down conversion at the end should make the 96kHz loop back result look worse, but capn357's result is the opposite. Which demonstrates that the 96kHz loop is indeed producing a better result within the range where there is audio.
Old 1st December 2018
  #1705
Gear Head
 

Quote:
Originally Posted by sumskilz View Post
but capn357's result is the opposite. Which demonstrates that the 96kHz loop is indeed producing a better result within the range where there is audio.
I've edited my original post on this topic to include links to the .wav files produced for each of the three listed scenarios in case anyone wants to take a listen or perform his/her own analysis.
Old 1st December 2018
  #1706
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by funka View Post
As the original content is only 0-22,05kHz, applying larger/smoother filters that let pass more frequencies may allow them to be more precise in the 0-22,05kHz zone?
I think that it is likely the right explanation. Note that upsampling is not part of this test except if it is integrated in the converter: some hi-fi DAC do so. Anyway the sampling rate setting for DAC and ADC shall be 44.1 kHz.
Old 2nd December 2018
  #1707
Lives for gear
 
Susceptor's Avatar
 

Quote:
Originally Posted by didier.brest View Post
I understand that it is the same unit as the one named mistakingly Saffire 6i6 instead of Scarlett 6i6 in your post on July 14th but with 3+4 out to 3+4 in instead of 1+2 out to 3+4 in. Correct ?
Yes, this is correct; my apologies for the initial mistake – I tried to edit the post, but (obviously) it's a bit late.
I'm curious if other soundcards or ADC/DACs exhibit this behaviour with different combinations of inputs and outputs.
Old 2nd December 2018
  #1708
Gear Head
 

\
Quote:
Originally Posted by didier.brest View Post
. Note that upsampling is not part of this test except if it is integrated in the converter: some hi-fi DAC do so. Anyway the sampling rate setting for DAC and ADC shall be 44.1 kHz.
Okay, I've got a new one for you that meets this criteria since the Lynx HILO has an option to convert the incoming sample rate.

So here are my connections:
Lynx HILO word clock out to MOTU 828MKII word clock in
Motu SPDIF coax out to Lynx HILO SPDIF coax in
Lynx HILO LINE OUT to MOTU 828 MKII Line In.

Here are my pertinent settings:
Lynx HILO sample rate set to 88.2KHz with S.R.C. (sample rate converter) ON
Lynx HILO synchronized to INTERNAL clock
Lynx HILO mapping Digital IN to LINE OUT
MOTU 828 MKII set to 44.1 KHz

PC with AudioDesk connected to MOTU 828 MKII (Lynx HILO is standalone in this test).

So the path in this case is: original2.wave 44.1KHz->MOTU 828 MKII USB->MOTU 828 MKII 44.1 KHz SPDIF coax out->Lynx HILO SPDIF coax in->Lynx HILO SRC to 88.2KHz->Lynx HILO LINE OUT->MOTU 828 MKII Analog In 1-2->MOTU 828 MKII [email protected] KHz.

Or, more simplified, just Lynx HILO S.R.C ON->MOTU 828 MKII

The file can be downloaded here:

Box

I think you'll find the results are much better for this scenario than they were for my previous Lynx HILO->MOTU 828 MKII submission from way back when the Lynx HILO S.R.C. was not activated (i.e. the Lynx HILO was just operating at 44.1 KHz). Also, since this latest scenario altered ONLY the DAC side of the equation and left the ADC side unaltered, it would seem to prove that the improvement in this case is due solely to the DAC upsampling.
Old 2nd December 2018
  #1709
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by capn357 View Post
Lynx HILO S.R.C ON->MOTU 828 MKII

The file can be downloaded here:

[url=https://app.box.com/s/wpioarqgn85pr7tbthjmirtpau3093xe]Box[/url
ADM: -14,67msec, 0,306dB (L), 0,355dB (R)..Corr Depth: 36,3 dB (L), 37,9 dB (R) Difference: -56.2 dBFS (L), -57.3 dBFS (R)
Matlab: -14.67451 ms, 0.3081 dB (L), 0.3565 dB (R) Difference: -56.8 dBFS (L), -58.2 dBFS (R)

To be added to the next issue of the list of results.
Old 2nd December 2018
  #1710
Gear Nut
 

The UAD Apollos "x" series are supposed to be upgraded converters over the previous series, but I notice the x6 is showing just slightly worse numbers than the old Apollo 8. Any thoughts on the particular reason behind this, or am I interpreting the data wrong?
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