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Evaluating AD/DA loops by means of Audio Diffmaker
Old 3rd December 2018
  #1711
Gear Addict
 

Great Thread!

I'm curious to know if Lynx Aurora n would do it better at a full 88.2 loop with a 88.2 recorded wav

Daniel.
Old 3rd December 2018
  #1712
Gear Nut
 

Quote:
Originally Posted by Gears View Post
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?
You're interpreting it correctly. I commented on a possible explanation in this post. The whole post is relevant.
Old 3rd December 2018
  #1713
Gear Head
 

Quote:
Originally Posted by sumskilz View Post
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.
This may just be semantics issue, but I wouldn't characterize Audio Diffmaker as inherently prioritizing one aspect (e.g. linear phase vs. minimum phase) of the conversion over another. Rather, I would say that certain aspects of the conversion, or in this case, certain filters have a greater contribution than others when it comes to affecting the transparency of the conversion.

Moreover, since I believe Didier is ultimately relying upon the Matlab script for the actual results that are published in the ranked list, it is that script that is most relevant.

Here is my understanding of what is incorporated in that script and the underlying premise (I'm sure if I'm mistaken it will be instantaneously called out)

The underlying premise is that if the DAC and ADC combination are perfectly transparent, there are ONLY two differences that should be observed in the recorded .wav file that is produced by this test protocol:
1. The resultant .wav file could be shifted in time from the original .wav file, and
2. The resultant .wav file could have some offset in amplitude (perfectly flat across frequency) based upon level settings used.

Consequently, there are only two adjustments that are performed in the matlab script, one to align the time of the recorded and original .wav files and one to align the amplitude of the recorded and original .wav files.

Again, if the DAC/ADC combination are perfectly transparent, then the two files should be exactly the same after these two adjustments are made. ANY phase distortion and/or ANY variation of magnitude vs. frequency of the conversion will result in a less than perfect match, which is all that this test is attempting to characterize. Certainly it is reasonable to assume that all of the filters available in the ADI-2 are imperfect and it is also reasonable to assume that these filters won't all have the same affect on the ultimate transparency of the conversion as measured by this script.

Now, how all of these less-than-perfect conversions translate into perceived sound quality, is of course another matter entirely and one that will be debated endlessly. Ten thousand years from now, when the humans have succeeded to destroy most all of the life on earth except for cockroaches, the cockroaches will be arguing about the relative merits of vinyl vs. digital and comparing the size of their DACs.
Old 3rd December 2018
  #1714
Gear Nut
 

Quote:
Originally Posted by capn357 View Post
This may just be semantics issue, but I wouldn't characterize Audio Diffmaker as inherently prioritizing one aspect (e.g. linear phase vs. minimum phase) of the conversion over another. Rather, I would say that certain aspects of the conversion, or in this case, certain filters have a greater contribution than others when it comes to affecting the transparency of the conversion.
Yeah, I suppose I was inadvertently anthropomorphizing something that is a raw measure. The inaccuracy of language came about because I was juxtaposing it against human perception since our brains do prioritize some aspects of the sound. As in some distortions are more obvious to us than others, and that's without even getting into which distortions we find pleasing or not. If you're prioritizing which distortions to compromise on when creating a converter that appeals to human hearing, it may not be objectively the most transparent by a particular measure. For example, I read a study that found that harmonic distortion at the lowest end of the audible spectrum is hardly detectable to listeners even at very high amplitudes relative to the original source.
Old 4th December 2018
  #1715
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by Gears View Post
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?
The results of this test say that the copy of a music sample, called here 'the original', got through DA and AD converting is a (very small) bit closer to the original when using Apollo 8 than when using Apollo x6. The closeness measurement is the RMS level of the difference between the original and the corrected copy. The corrected copy is got by applying to the copy a time delay and left and right gain corrections, these three parameters being optimized so that the RMS difference level, the largest one between the left and right ones, is minimized.

Is it coherent with your subjective judgement when listening to the original and to both copies ? Only you can say. The links here below lead to the original and to both not corrected copies. Hence the left and right gain corrections determined by the above process shall be applied to both copies for comparative listening. In this case, they have by chance the same 0.1 dB value for left and right channels of both copies.

The original

Apollo 8 copy
Gain corrections: 0.1 dB left, 0.1 dB right.
Difference: -46.3 dBFS (L), -47.4 dBFS (R)

Apollo x6 copy
Gain corrections: 0.1 dB left, 0.1 dB right.
Difference: -45.6 dBFS (L), -46.9 dBFS (R)

list of results

Last edited by didier.brest; 18th December 2018 at 08:40 AM.. Reason: Adding link to the list of results.
Old 18th December 2018
  #1716
Gear Head
 

Quote:
Originally Posted by Coucou View Post
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.
1. Was the "Line Output Headroom" set to +24 dBu for this recording?
2. Was the "Line Output Reference Level" set to +4 dBu for this recording?

I've attached a screenshot from the manual...

If not, I'd love to see if there is any change with these settings engaged!

Cheers,

Dave
Attached Thumbnails
Evaluating AD/DA loops by means of Audio Diffmaker-screen-shot-2018-12-17-8.45.17-pm.png  
Old 31st December 2018
  #1717
Gear Maniac
 

E-MU 1616m

L-R Line Out -> L-R Line In

The file can be downloaded here.
Old 1st January 2019
  #1718
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by The Tenant View Post
E-MU 1616m
ADM: -1,003sec, 0,052dB (L), 0,024dB (R)..Corr Depth: 25,5 dB (L), 27,0 dB (R) Difference: -42.0 dBFS (L), -42.2 dBFS (R)
Matlab: -1.002745 ms, 0.0561 dB (L), 0.0232 dB (R) Difference: -44.8 dBFS (L), -45.5 dBFS (R)

To be added to the next issue of the list of results.
Old 6th January 2019
  #1719
Lives for gear
 
Analogue Mastering's Avatar
There are 2 other variables in the mix that renders this whole test invalid:
1. The DAC > we don’t know what merit to award to the DAC as it always needs an ADC to record it back into the PC resulting file.

2. the ADC > we don’t know what merit to award to the ADC as it always needs an DAC to PLAY it back in order to record a result file.

The test premise asumes that we know “what good looks like” while in reality we don’t, to explain

If a DAC and ADC are “+1” as a result file we don’t know if
Dac was 0 and ADC 1
Dac was -1 and ADC 2
Dac was 1 and ADC 0
Dac was 2 and ADC -1

We don’t know, hence the result is meaningless, you CAN not award ANY quality to individual components from this test.

The best way to describe this test is that a certain combination of ADC and DAC provides the deepest correlation (meaning most true to the source, assuming that the right things are measured in the first place)

This then reduces this test to a “brute force” mix and match combination fest, where in theory an onboard AC97 DAC with a Behringer ADC might give you the “best” result.
The “results” posted are the sum of DAC, ADC, cabling, local interference, impedance, thd, gain staging skills etc. > meaningless and not valid to award ANY qualities to individual components.

Quote:
Originally Posted by capn357 View Post
This may just be semantics issue, but I wouldn't characterize Audio Diffmaker as inherently prioritizing one aspect (e.g. linear phase vs. minimum phase) of the conversion over another. Rather, I would say that certain aspects of the conversion, or in this case, certain filters have a greater contribution than others when it comes to affecting the transparency of the conversion.

Moreover, since I believe Didier is ultimately relying upon the Matlab script for the actual results that are published in the ranked list, it is that script that is most relevant.

Here is my understanding of what is incorporated in that script and the underlying premise (I'm sure if I'm mistaken it will be instantaneously called out)

The underlying premise is that if the DAC and ADC combination are perfectly transparent, there are ONLY two differences that should be observed in the recorded .wav file that is produced by this test protocol:
1. The resultant .wav file could be shifted in time from the original .wav file, and
2. The resultant .wav file could have some offset in amplitude (perfectly flat across frequency) based upon level settings used.

Consequently, there are only two adjustments that are performed in the matlab script, one to align the time of the recorded and original .wav files and one to align the amplitude of the recorded and original .wav files.

Again, if the DAC/ADC combination are perfectly transparent, then the two files should be exactly the same after these two adjustments are made. ANY phase distortion and/or ANY variation of magnitude vs. frequency of the conversion will result in a less than perfect match, which is all that this test is attempting to characterize. Certainly it is reasonable to assume that all of the filters available in the ADI-2 are imperfect and it is also reasonable to assume that these filters won't all have the same affect on the ultimate transparency of the conversion as measured by this script.

Now, how all of these less-than-perfect conversions translate into perceived sound quality, is of course another matter entirely and one that will be debated endlessly. Ten thousand years from now, when the humans have succeeded to destroy most all of the life on earth except for cockroaches, the cockroaches will be arguing about the relative merits of vinyl vs. digital and comparing the size of their DACs.
Old 7th January 2019
  #1720
Gear Addict
 

Quote:
Originally Posted by Analogue Mastering View Post
There are 2 other variables in the mix that renders this whole test invalid:
1. The DAC > we don’t know what merit to award to the DAC as it always needs an ADC to record it back into the PC resulting file.

2. the ADC > we don’t know what merit to award to the ADC as it always needs an DAC to PLAY it back in order to record a result file.

The test premise asumes that we know “what good looks like” while in reality we don’t, to explain

If a DAC and ADC are “+1” as a result file we don’t know if
Dac was 0 and ADC 1
Dac was -1 and ADC 2
Dac was 1 and ADC 0
Dac was 2 and ADC -1

We don’t know, hence the result is meaningless, you CAN not award ANY quality to individual components from this test.

The best way to describe this test is that a certain combination of ADC and DAC provides the deepest correlation (meaning most true to the source, assuming that the right things are measured in the first place)

This then reduces this test to a “brute force” mix and match combination fest, where in theory an onboard AC97 DAC with a Behringer ADC might give you the “best” result.
The “results” posted are the sum of DAC, ADC, cabling, local interference, impedance, thd, gain staging skills etc. > meaningless and not valid to award ANY qualities to individual components.
You are right, this is not for individual components, it's useful to have an idea of the overall DAC->ADC quality.

This is perfect for people that uses outboard, you need to go out and in again.

Best regards,

Daniel.
Old 13th January 2019
  #1721
Lives for gear
 
didier.brest's Avatar
 

Udated list of results (Scarlett 6i6, Lynx Hilo SRC to Moto 828, E-MU 1616M).

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)
The Tenant: 0.1 dB (L), 0.0 dB (R)..Corr Depth: 25,5 dB (L), 27,0 dB (R) Difference*: -44.8 dBFS (L), -45.5 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)

Focusrite Scarlett 6i6 2nd Gen (Susceptor)
1&2 in to 3&4 out: 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)
3&4 in to 3&4 out: 1.1 dB (L), 1.2 dB (R)..Corr Depth: 17,5 dB (L), 19,1 dB (R) Difference*: -37.7 dBFS (L), -38.9 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)

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)

Lynx Hilo with SRC 88.2 master to MOTU 828mkII (capn357)
0.3 dB (L), 0.4 dB (R)..Corr Depth: 36,3 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; 13th January 2019 at 10:28 AM..
Old 20th January 2019
  #1722
Gear Head
 

Quote:
Originally Posted by Analogue Mastering View Post
There are 2 other variables in the mix that renders this whole test invalid:
1. The DAC > we don’t know what merit to award to the DAC as it always needs an ADC to record it back into the PC resulting file.

2. the ADC > we don’t know what merit to award to the ADC as it always needs an DAC to PLAY it back in order to record a result file.

The test premise asumes that we know “what good looks like” while in reality we don’t, to explain

If a DAC and ADC are “+1” as a result file we don’t know if
Dac was 0 and ADC 1
Dac was -1 and ADC 2
Dac was 1 and ADC 0
Dac was 2 and ADC -1

.
You seem to be implying that both the DAC and ADC could be "off", but that one could compensate for the other thereby rendering the results of testing the pair invalid. I find it extremely unlikely that that would happen over the course of the entire 2 minute sound file.

Moreover, if a pair in Didier's list produces a file that when subtracted from the original produces a result with a 70 dB RMS difference, I would confidently state that both the DAC and ADC in that pair are excellent individual components (at least in terms transparency) and I defy you to state otherwise.

Let me guess.... you own some equipment that is included in Didier's list that isn't ranked very highly.
Old 20th January 2019
  #1723
Lives for gear
 
Analogue Mastering's Avatar
No, the sum of DAC and ADC could be both additive or compensating on certain frequencies. The point is YOU don’t know, WHAT is causing the depth. 1 person could have the match in heaven, but the worst result because he has a fridge humming on the same power group. Who knows? That’s why this test is completely useless.
Quote:
Originally Posted by capn357 View Post
You seem to be implying that both the DAC and ADC could be "off", but that one could compensate for the other thereby rendering the results of testing the pair invalid. I find it extremely unlikely that that would happen over the course of the entire 2 minute sound file.

Moreover, if a pair in Didier's list produces a file that when subtracted from the original produces a result with a 70 dB RMS difference, I would confidently state that both the DAC and ADC in that pair are excellent individual components (at least in terms transparency) and I defy you to state otherwise.

Let me guess.... you own some equipment that is included in Didier's list that isn't ranked very highly.
Old 20th January 2019
  #1724
Gear Nut
 

Quote:
Originally Posted by Analogue Mastering View Post
No, the sum of DAC and ADC could be both additive or compensating on certain frequencies. The point is YOU don’t know, WHAT is causing the depth. 1 person could have the match in heaven, but the worst result because he has a fridge humming on the same power group. Who knows? That’s why this test is completely useless.
You offer some reasonable caveats one should consider, but then jump to the absurd conclusion that these lead to the test being "completely useless".

Take for example the eight replications with near identical results for the Lynx Hilo done by five different contributors. Even more data would be better, but that's far from useless information.

More replications with less tested converters would make the overall list more useful, as would more tests on combinations.
Old 26th January 2019
  #1725
Gear Head
 

Quote:
Originally Posted by Analogue Mastering View Post
No, the sum of DAC and ADC could be both additive or compensating on certain frequencies. The point is YOU don’t know, WHAT is causing the depth. 1 person could have the match in heaven, but the worst result because he has a fridge humming on the same power group. Who knows? That’s why this test is completely useless.
Well if that were true, I would expect to see results for the same combination of DAC/ADC vary all over the place on Didier's list based upon the personal fridge preference or any other random variable of your choosing of the individual contributors, but that is clearly not the case as results for same DAC/ADC combinations align extremely well.

Consequently, I'm confident that a good result from this test is NOT produced by two individually crappy components that just happen to cancel each other out (i.e. DAC transfer function = crap and ADC transfer function = INV (crap))

Still, the usefulness (or uselessness) of the test is ultimately in the eye, or in this case, the ear of the beholder, just as is the case with any product or service. Specifically, I find the results of this test to be extremely useful whereas I find Minoxidil to be completely useless. Others may have the opposite opinion.
Old 26th January 2019
  #1726
Gear Maniac
 
Bart Nettle's Avatar
This testing would be better from the get go if divided into a list that specified line ins or mic ins on each interface as these would categorize a bit better making it easier to discern than having to look up if the interface has mic pre ins only.

Nonetheless, it is still useful and probably is the longest running thread here.

So what, if a high end interface is lower on the list than you'd like, in the end it doesn't really matter as it might be less fatiguing than others higher on the list for 12hr days.
Old 23rd February 2019
  #1727
Here for the gear
 

Hi Didier

I was curious about the discrepancy between older MOTU 828 and the new MOTU 828es, so I ran ADM myself on the files you attached to look at the difference.

Something is off in the resulting diff file, the first 0.35s do not look like a difference at all. I checked the difference also for the Lynx Hilo and 828mk2 and see a similar behavior in the first 0.2s.
Beginning aside, the diff files of the Hilo and the 828ES are similar, i.e. closer than 828es vs 828mk3.

If you look at the [email protected], the first 0.35s are silence... To me this looks like a bug in the tool.

So, if you took the beginning of the file into your RMS calculation, then that would offset the results.
The ES is unlucky because there's a string section playing at 0.25s in.

By excluding 0.36s from RMS calculation in Adobe Audition I get -57.84dB L -58.03dB R for the 828es, but my RMS calculation is different than yours.

Not a huge deal, I imagine you don't want to recalculate everything unless you scripted it... but I would skip 0.5s for the RMS calculation in the future!

cheers,
Marco

Last edited by mforlin; 23rd February 2019 at 07:10 PM.. Reason: typo
Old 23rd February 2019
  #1728
Lives for gear
 
didier.brest's Avatar
 

Hi Marco,

I mentioned in this thread that the initial 175 ms section of the difference wav file delivered by ADM has to be excluded for measuring the RMS levels noted Difference in the results. This is not needed for my computation done in Matlab that gives the RMS level values noted Difference*. The impact of excluding this section is much lower than the discrepancy of our results. I am going to do again the computation both with ADM and with Matlab.
Old 23rd February 2019
  #1729
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by mforlin View Post
By excluding 0.36s from RMS calculation in Adobe Audition I get -57.84dB L -58.03dB R for the 828es.
I could not open the 828es loopback file from sm5 directly in ADM because of format incompatibility. I opened it in Reaper, registered it again (using render function in Reaper), tested it against Original2 in ADM, which provided this difference file. Is it different from your one ? I still measure its RMS level around -40 dBFS with or without the initial 0.36s section.
Old 24th February 2019
  #1730
Here for the gear
 

Hi Didier,

sorry i missed where you said you were already skipping the beginning of files, there were many posts...

when i got that error loading the 828es file, i loaded the Hilo.wav and then the 828es.wav again. The error disappeared but apparently the tool didn't function properly, which is why my diff file was way better than yours, suspiciously close to the Hilo one. Not sure what was going on with the tool.

Anyway, by rendering the file in reaper as you did, I now get the same diff file as you do. So please disregard my post.

Still, disappointing to see the 828es < my current Ultralite < 828mk3 < 828mk2

just as I am considering getting the 828es.

Not sure how good is good enough in this regard.

Marco
Old 1st April 2019
  #1731
Lives for gear
 
didier.brest's Avatar
 

A test of the new RME UFX+ send in PM by paul n., user name paulthesparky,
ADM: 47,33msec, 0,160dB (L), 0,208dB (R)..Corr Depth: 28,0 dB (L), 29,5 dB (R) Difference: -44.3 dBFS (L), -45.4 dBFS (R)
Matlab: 47.32248 ms, 0.1551 dB (L), 0.2027 dB (R), Difference: -46.0 dBFS (L), -47.1 dBFS (R)

To be added to the next issue of the list of results.
Old 3rd April 2019
  #1732
Gear Head
Quote:
Originally Posted by didier.brest View Post
A test of the new RME UFX+ send in PM by paul n., user name paulthesparky,
ADM: 47,33msec, 0,160dB (L), 0,208dB (R)..Corr Depth: 28,0 dB (L), 29,5 dB (R) Difference: -44.3 dBFS (L), -45.4 dBFS (R)
Matlab: 47.32248 ms, 0.1551 dB (L), 0.2027 dB (R), Difference: -46.0 dBFS (L), -47.1 dBFS (R)

To be added to the next issue of the list of results.
Just noticed the file I uploaded had some minor clipping in places from too much gain, giving borderline -0.0 Dbpt, so my correlation figures may have suffered slightly after the audio diffmaker results checked by didier.brest. as you can see by this attached chart of the export results. At least you can still compare the sound to the other files. I may do another export loop test at some stage.
Attached Thumbnails
Evaluating AD/DA loops by means of Audio Diffmaker-original2gs.png  
Old 3rd April 2019
  #1733
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by paulthesparky View Post
Just noticed the file I uploaded had some minor clipping in places
although it is 0.2 dB RMS lower than the original.
Old 3rd April 2019
  #1734
Gear Head
Quote:
Originally Posted by didier.brest View Post
although it is 0.2 dB RMS lower than the original.
No worries Didier. I'll leave it 'as is' then if your happy.
Old 6th April 2019
  #1735
Gear Head
 

Here's a new unsynchronized pair for you.

LGV30 phone (with HIFI QUAD DAC enable) -> motu 828 mkii

Box
Old 7th April 2019
  #1736
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by capn357 View Post
Here's a new unsynchronized pair for you.

LGV30 phone (with HIFI QUAD DAC enable) -> motu 828 mkii

Box
Reminder: for unsynchronized tests like this one, only the first half of the original (samples 1 to 2688472) and the copy (here samples 34737 to 2723208 for compensating for a delay of about 0.7877 s) are taken into account and Matlab is used only for measuring the RMS level of the difference file delivered by ADM, all other figures being the ones from ADM.

-68,01usec, 2,212dB (L), 2,230dB (R). rate adj=-17,3159 ppm.Corr Depth: 30,6 dB (L), 30,5 dB (R) Difference: -48.6 dBFS (L), -47.6 dBFS (R)

To be added to the next issue of the list of results.
Old 10th April 2019
  #1737
Here for the gear
 
fjksfkjasgj's Avatar
 

Hello, would someone explain what the number say/mean ? i understand that the difference is what i should look at, and can conduct as an ex that the audient 22 has a "good" test result compaired to other high end interfaces, ore i think i understand hehe.
Old 10th April 2019
  #1738
Lives for gear
 
didier.brest's Avatar
 

Quote:
Originally Posted by fjksfkjasgj View Post
i understand that the difference is what i should look at, and can conduct as an ex that the audient 22 has a "good" test result compaired to other high end interfaces
Yes.

Some explanation here.
Old 10th April 2019
  #1739
Here for the gear
 
fjksfkjasgj's Avatar
 

thank you ! )
Old 14th April 2019
  #1740
Lives for gear
 
didier.brest's Avatar
 

Test of Antelope Audio Zen Tour by esldude

ADM: -2,417msec, 0,491dB (L), 0,580dB (R)..Corr Depth: 34,5 dB (L), 36,1 dB (R) Difference: -54.3 dBFS (L), -55.3 dBFS (R)
Matlab: -2.417589 ms, 0.4907 dB (L), 0.5805 dB (R), Difference: -55.0 dBFS (L), -56.3 dBFS (R)

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