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Evaluating AD/DA loops by means of Audio Diffmaker
Old 8th October 2020 | Show parent
  #2101
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🎧 5 years
Quote:
Originally Posted by didier.brest View Post
It seems OK.

-The uploaded recorded file is a little bit longer than the original. Can you fix that?

It does not matter.

- In logic, when bouncing, I chose split and not interleaved, correct?
Yes. Both should be OK. Your file seems to be interleaved. Split wav stereo is composed of two files: one for the left channel and one for the right channel.
Ah Ok I Think it generated both split and interleaved then. I got two additional files L and R.


Not so good results though. I'm gonna do some listening comparisons later as well. It's funny because we did som blindtests earlier with your files and compared some MOTU, antelope and lynx aurora files. The lynx which have the best result sounded good but was also the easiest to separate from the others and actually sounded the least similiar to the original file.
Old 8th October 2020 | Show parent
  #2102
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3 Reviews written
🎧 15 years
Quote:
Originally Posted by Dan O View Post
Ah Ok I Think it generated both split and interleaved then. I got two additional files L and R.


Not so good results though. I'm gonna do some listening comparisons later as well. It's funny because we did som blindtests earlier with your files and compared some MOTU, antelope and lynx aurora files. The lynx which have the best result sounded good but was also the easiest to separate from the others and actually sounded the least similiar to the original file.
Out of interest which one sounded the closest then?
Old 9th October 2020 | Show parent
  #2103
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🎧 10 years
Quote:
Originally Posted by Dan O View Post
It's funny because we did som blindtests earlier with your files and compared some MOTU, antelope and lynx aurora files.
Which files did you listen to ?

Did you apply the corrective gains ?

If one listens to the raw files dowloaded from the list of the results

Lynx Aurora(n), 1.1 dB (L), 1.1 dB (R), -58.9 dBFS (L), -59.0 dBFS (R) (test recorded by Mikathechou)

Antelope Pure2, -0.0 dB (L), -0.2 dB (R), -56.8 dBFS (L), -58.2 dBFS (R) (test recorded by Touf)

MOTU 2408mk3, 0.1 dB (L), 0.1 dB (R), -56,7 dBFS (L), -58,1 dBFS (R) (test recorded by ram 75)

without applying the indicated corrective gains, one may find that

Quote:
Originally Posted by Dan O View Post
The lynx which have the best result sounded good but was also the easiest to separate from the others and actually sounded the least similiar to the original file.

Last edited by didier.brest; 9th October 2020 at 04:57 AM..
Old 9th October 2020 | Show parent
  #2104
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🎧 5 years
Quote:
Originally Posted by didier.brest View Post
Which files did you listen to ?

Did you apply the corrective gains ?

If one listens to the raw files dowloaded from the list of the results

Lynx Aurora(n), 1.1 dB (L), 1.1 dB (R), -58.9 dBFS (L), -59.0 dBFS (R) (test recorded by Mikathechou)

Antelope Pure2, -0.0 dB (L), -0.2 dB (R), -56.8 dBFS (L), -58.2 dBFS (R) (test recorded by Touf)

MOTU 2408mk3, 0.1 dB (L), 0.1 dB (R), -56,7 dBFS (L), -58,1 dBFS (R) (test recorded by ram 75)

without applying the indicated corrective gains, one may find that
Yes, we downloaded the files from the list and level matched. I didn't realize though that the right dB correction for level matching was included in the list but I've checked with the levelmatching we did on our own and it seems to be spot on. Maybe I'll give it another listen when I find the time. The interfaces we were interested in was lynx aurora n, MOTU 16a, MOTU 24 i/o, orion studio and just for interest antelope pure 2. What we were missing was orion32 gen3 which we later ended up buying.
Old 10th October 2020
  #2105
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🎧 5 years
Ok, so here it goes. New loopbacks of the Orion 32 gen3. The results will probably be more or less the same but just for the sake of it this is the best it's gonna get. ( I'm not going to solder a d-sub to trs connectors for the monitor loopback. )

The first version is a straight connection (mogami cables if anyone cares) from line out 1-2 to line in 1-2:

http://www.mediafire.com/file/sjkhbl...ction.wav/file

and secondly. From Monitor out 1-2 via console and EDAC patchbay to Line in 1-2:

http://www.mediafire.com/file/kgbzu6...chbay.wav/file



( Edit. I just realized that the monitor out trim was set to 20dbu and the line in and out to 24dbu but I guess that shouldn't really matter. )

( 2nd Edit. I just realized that on the monitor out loopback the R signal, my adapter cable had been phase flipped. Didier, can you work around that or do I need to redo it? )

Last edited by Dan O; 10th October 2020 at 07:08 PM..
Old 10th October 2020 | Show parent
  #2106
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🎧 5 years
Quote:
Originally Posted by Dan O View Post
Ok, so here it goes. New loopbacks of the Orion 32 gen3. The results will probably be more or less the same but just for the sake of it this is the best it's gonna get. ( I'm not going to solder a d-sub to trs connectors for the monitor loopback. )

The first version is a straight connection (mogami cables if anyone cares) from line out 1-2 to line in 1-2:

...
according to my experience with this kind of loopback test, using a short dedicated cable (0.5m) or a patch bay with a cheap (the cheapest on Thomann) patch cable connecting two d-sub looms 1.5m each makes barely no difference.
Old 10th October 2020 | Show parent
  #2107
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🎧 10 years
Quote:
Originally Posted by Dan O View Post
The first version is a straight connection (mogami cables if anyone cares) from line out 1-2 to line in 1-2
1.030648 ms, 0.3835 dB (L), 0.3284 dB (R), -44.1181 dBFS (L), -45.1804 dBFS (R)

Quote:
Originally Posted by Dan O View Post
I just realized that on the monitor out loopback the R signal, my adapter cable had been phase flipped.
No matter. I'll measure your second file tomorrow.
Old 10th October 2020 | Show parent
  #2108
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🎧 5 years
Quote:
Originally Posted by didier.brest View Post


No matter. I'll measure your second file tomorrow.
Ok πŸ‘Œ Thanks!
Old 11th October 2020 | Show parent
  #2109
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🎧 10 years
Quote:
Originally Posted by Dan O View Post
From Monitor out 1-2 via console and EDAC patchbay to Line in 1-2
399 ns, 0.2046 dB (L), 0.2382 dB (R), -48.8590 dBFS (L), -49.8813 dBFS (R)

To be added to the next issue of the list of the results.
Old 11th October 2020 | Show parent
  #2110
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🎧 5 years
Quote:
Originally Posted by didier.brest View Post
399 ns, 0.2046 dB (L), 0.2382 dB (R), -48.8590 dBFS (L), -49.8813 dBFS (R)

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

Ok, interesting. A bit better results. I think I've percieved the monitor outs to sound a little better than the line outs but I'm gonna take a second listen.

Still not so impressive results though. If one were to go only by these results, two Motu 16A would have been more for the money. I think I need to redo som listening tests now that we also got the files from the antelope.

Btw. I wonder what the real difference is between the line outs and the monitor outs. If i assign 31-32 to the monitor outs I can still get the same signal from the line out 31-32. I'm guessing then that it's the same converterchip but a different analog output stage.

Last edited by Dan O; 11th October 2020 at 02:51 PM..
Old 11th October 2020 | Show parent
  #2111
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🎧 10 years
Quote:
Originally Posted by Dan O View Post
I wonder what the real difference is between the line outs and the monitor outs.
The test result of the Orion Rev. 2017 is also better on the monitor outs than on the line outs (see the list of the results). The reason might be that the monitor outs of the Orion Rev. 2017 are unbalanced (see p.11 of this user manual). But the monitors outs of the Orion32+ are balanced (see Β§5 point 18 of this user manual). Did you use TRS or TS cables ?
Old 11th October 2020 | Show parent
  #2112
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🎧 5 years
Quote:
Originally Posted by didier.brest View Post
The test result of the Orion Rev. 2017 is also better on the monitor outs than on the line outs (see the list of the results). The reason might be that the monitor outs of the Orion Rev. 2017 are unbalanced (see p.11 of this user manual). But the monitors outs of the Orion32+ are balanced (see Β§5 point 18 of this user manual). Did you use TRS or TS cables ?
Ok, interesting. I used TRS connections.
Old 29th October 2020 | Show parent
  #2113
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I've been doing a lot of A/B tests with the samples in this thread as I am looking for a new interface. Great stuff and very helpful!

One question I have, though (perhaps it has been answered already), is do we know what AD converter was used to create the original sample? It sounds quite good.
Old 10th November 2020 | Show parent
  #2114
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🎧 10 years
Quote:
Originally Posted by shoepedals View Post
do we know what AD converter was used to create the original sample?
I don't.

Test of the Tascam US-122L by KindYak (send by PM):

-1.569786603 s, 12.5437 dB (L), 12.8052 dB (R), -41.3201 dBFS (L), -42.7394 dBFS (R)

To be added to the next issue of the list of the results.
Old 13th November 2020 | Show parent
  #2115
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Quote:
Originally Posted by Dan O View Post
Ah Ok I Think it generated both split and interleaved then. I got two additional files L and R.


Not so good results though. I'm gonna do some listening comparisons later as well. It's funny because we did som blindtests earlier with your files and compared some MOTU, antelope and lynx aurora files. The lynx which have the best result sounded good but was also the easiest to separate from the others and actually sounded the least similiar to the original file.
I mean, I don't agree, I've used Apogee, RME and Lynx in the past and at some point got the Cranesong Solaris which sounded amazing at first listen, like it sounded open, 3d and like very exciting but then I was like wait, is it actually a clear representation or is it sweetening the sound and sure enough, looping back the Solaris through several devices (RME, Lynx and Apogee) gave me that hyped sound, which I did Love from an experience point but it wasn't an honest representation of what the signal actually sounds like and this upset me by a lot because it's sole purpose is monitoring.

Actually to me it had this smiley face EQ curve sound with a feel of transient designer response, like things were popping out unrealistically and when you actually printed it back through another device and phased both signals out, you could hear that fake transient emphasis that was left over of kicks, snares and very transient heavy things.

The smiley curve I figured out actually came from the device phasing out in the mid range very well but becoming increasingly less precise to the sides of the frequency spectrum so actually having owned the Cranesong Solaris made me google converter shootout and find this thread.

I also tried the Merging Anubis because some people said it sounded very much like the Solaris and sure enough, it had a very similar sonic effect going through probably this internal up and downsampling for better transient response which to my ears sounded more fake than genuine.
Old 13th November 2020 | Show parent
  #2116
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Quote:
Originally Posted by didier.brest View Post
-1.337595 ms, -0.0071 dB (L), -0.0554 dB (R), -77.9426 dBFS (L), -77.9483 dBFS (R)

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


Fine.
That's very odd, is it possibly up and down sampling internally since it is a dsp based fx unit? Because all the other converters at higher sample rates will create a more precise translation as well which will possibly be more accurate when it comes back through the same device downsampled with the same filtering again?
Old 13th November 2020 | Show parent
  #2117
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🎧 10 years
Quote:
Originally Posted by spankjam View Post
That's very odd, is it possibly up and down sampling internally since it is a dsp based fx unit?
1) Not so odd: there are better results involving a Focusrite or a MSB AD converter in the list of the results.

2) The test rule is that the DA converter must be fed with the 44.1 kHz playback of the original wav file and the AD converter must deliver the 44.1 kHz digital audio signal recorded as the loopback wav file. Internal sampling rate conversion is OK. I don't know whether it is used by the Eventide H9000R.
Old 13th November 2020 | Show parent
  #2118
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Quote:
Originally Posted by didier.brest View Post
1) Not so odd: there are better results involving a Focusrite or a MSB AD converter in the list of the results.

2) The test rule is that the DA converter must be fed with the 44.1 kHz playback of the original wav file and the AD converter must deliver the 44.1 kHz digital audio signal recorded as the loopback wav file. Internal sampling rate conversion is OK. I don't know whether it is used by the Eventide H9000R.
Yeah I just mean when you go with higher sample rates, the phase out will be better and some devices could do it internally.

Would you be able to do a comparison with 192k and calculate the difference?
Old 14th November 2020 | Show parent
  #2119
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🎧 10 years
Quote:
Originally Posted by spankjam View Post
Would you be able to do a comparison with 192k and calculate the difference?
Yes after downsampling from 192 to 44.1.
Old 4 weeks ago | Show parent
  #2120
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🎧 15 years
This is a very interesting test and thread. I am still sorting out in my mind what audio data may be missing from these tests in production choices and how any audible changes may present themselves cumulatively as a converter is used in conversion layers within a production (transient response, cumulative effect of phase shift, etc.). Since filtering and the filter design of a unit at the the a/d stage can be an even more audible factor at 44.1, it’d be nice to see this test done at 96k as well on another thread to compare similar data on a loopback. Thanks for doing all this! It’s a fun read either way!

Last edited by Bounce; 4 weeks ago at 05:49 PM.. Reason: typo
Old 4 weeks ago
  #2121
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Man, that H9000 result is pretty interesting. I hope more people test its converters to "certify" it.
Old 4 weeks ago | Show parent
  #2122
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🎧 5 years
Quote:
Originally Posted by guigui View Post
Man, that H9000 result is pretty interesting. I hope more people test its converters to "certify" it.
Me included, just to see consistency in the results. 3 or 4 more similar results is a good indication that the factory Q/A is up to par.
Old 4 weeks ago
  #2123
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I see a lot of great studios using Antelope's interfaces and converters. Honestly, those never got into my radar before.

What do you guys think about them?
Old 3 weeks ago | Show parent
  #2124
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🎧 5 years
I will not be the first to say this (I didn't really read all 71 pages) but maybe every other page we need this reminder.
This test prove to be completely faulty and all the results are meaningless yet it still continue.
This is a disservice for all of us members of gearslutz.
Old 3 weeks ago | Show parent
  #2125
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🎧 10 years
Happy new year to all !

List of results updated with MOTU 4pre test by ggsm27, Orion32+ | Gen3 test by Dan O, Tascam US-122L test by KindYak.

DA-AD loopback tests from this wav file (the original): http://www.mediafire.com/file/5hg6wl...inal2.wav/file,

The result from each test consists in four figures. Both first figures are the gains to be applied to the left and right channels of the loopback copy (download links available for a large part of the tests) for listening in comparison with the original. Both last figures are the RMS level values of the left (L) and right (R) channels of the difference between the original and the time and level aligned copy generated in Matlab by applying to the lopback copy a time delay, the same for both channels, and the L and R gains, the values of which given here are rounded to the nearest 0.1 dB. Precise values of these three parameters, determined to get the lowest maximum of L and R difference levels, were provided for each test before it was inserted in this list, except for the old ones that were initially measured by means of Audio DiffMaker and the result values of which have been meanwhile replaced without notification in this thread.

See at the end of this post how to contribute to the test.

AD-DA converters driven by their internal clock

Eventide H9000R (2mmi)
-0.0 dB (L), -0.1 dB (R), -78.0 dBFS (L), -78.0 dBFS (R)

Lynx Hilo
CoolColJ - 6 last second part disregarded: -0.1 dB (L), -0.1 dB (R), -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), -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), -59.1 dBFS (L), -59.1 dBFS (R)
Agustin Mongelli, Line out: -0.1 dB (L), -0.1 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Phone out: 0.0 dB (L), 0.1 dB (R), -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), -59.1 dBFS (L), -59.2 dBFS (R)
capn357: 0.0 dB (L), 0.1 dB (R), -59.1 dBFS (L), -59.1 dBFS (R)
schizoide on Pragmatic Audio: 0.0 dB (L), 0.0 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)

Merging Technologies Hapi
ADA8 ---> ADA8 (ljudatervinning): 0.4 dB (L), 0.4 dB (R), -58.9 dBFS (L), -60.3 dBFS (R)
DA8P --> AD8DP (Touf on Pragmatic Audio): 0.1 dB (L), 0.1 dB (R), -53.0 dBFS (L), -52.8 dBFS (R)
ADA8 ---> AD8D (ljudatervinning): 0.2 dB (L), 0.2 dB (R), -53.1 dBFS (L), -53.0 dBFS (R)

Lynx Aurora(n)
Mikathechou: 1.1 dB (L), 1.1 dB (R), -58.9 dBFS (L), -59.0 dBFS (R)
Spankjam
channels 1&2, 3m length Sommer cables
8.0 dB (L), 8.0 dB (R), -58.9 dBFS (L), -59.0 dBFS (R)
1.0 dB (L), 1.0 dB (R), -58.9 dBFS (L), -59.0 dBFS (R)
0.1 dB (L), 0.1 dB (R)' -58.9 dBFS(L), -59.0 dBFS (R)
0.0 dB (L), 0.0 dB (R), -58.9 dBFS (L), -59.0 dBFS (R)
channels 5&6, 3m length Sommer cables: 0.0 dB (L), 0.0 dB (R), -58.9 dBFS (L), -59.0 dBFS (R)
channels 5&6, 3m length Musicstore cables: 0.2 dB (L), 0.0 dB (R), -58.9 dBFS (L), -58.9 dBFS (R)

Antelope Pure2
Touf on Pragmatic Audio: -0.0 dB (L), -0.2 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)
MattGray: 0,0 dB (L), -0,0 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Apogee Symphony I/0 Mk II (Diegel)
-0.4 dB (L), -0.4 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Metric Halo LIO-8
BrianVengeance: 3.0 dB (L), 3.0 dB (R) (R), -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi: 3.4 dB (L), 3.4 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)
Antoine Fabi, out +3 dB: 0.4 dB (L), 0.5 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Metric Halo ULN-8 3d (Actualsizeaudio)
3.6 dB (L), 3.5 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)

MOTU 2408mk3 (ram75)
0.1 dB (L), 0.1 dB (R), -56,7 dBFS (L), -58,1 dBFS (R)

MOTU 828 MkII
laurend: 6.1 dB (L), 6.2 dB (R), -56.7 dBFS (L), -58.0 dBFS (R)
MusicManic: -0.1 dB (L), -0.0 dB (R), -56.7 dBFS (L), -58.0 dBFS (R)
syns: 6.1 dB (L), 6.1 dB (R), -56.7 dBFS (L), -58.0 dBFS (R)
capn357: 0.1 dB (L), 0.1 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)
jeamsler: 6.0 dB (L), 6.0 dB (R), -56.7 dBFS (L), -58.0 dBFS (R)
Xav: 0.1 dB (L), 0.1 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)

MOTU 24I/O
Zam on Pragmatic Audio: 0.1 dB (L), 0.1 dB (R), -56.7 dBFS (L), -58.0 dBFS (R)
ram75: 0.1 dB (L), 0.1 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)

Apogee Symphony I/O Mk II 2Γ—6 SE card (ziegenh5)
-0.1 dB (L), -0.0 dB (R), -56.6 dBFS (L), -57.9 dBFS (R)

Mytek 8 x 192 AD/DA
MainTime: 0.4 dB (L), 0.5 dB (R), -55.8 dBFS (L), -57.1 dBFS (R)
mudseason: -0.1 dB (L), -0.1 dB (R), -56.3 dBFS (L), -57.7 dBFS (R)

Antelope Audio Zen Tour
esldude, monitor out to line in: 0.5 dB (L), 0.6 dB (R), -55.0 dBFS (L), -56.3 dBFS (R)
Zek: 0.9 dB (L), 1.0 dB (R), -49.8 dBFS (L), -50.8 dBFS (R)

Lynx Aurora 8 (cylens)
-0.1 dB (L), -0.1 dB (R), -54.5 dBFS (L), -55.6 dBFS (R)

Lynx Aurora 16
Touf on Pragmatic Audio: -0.1dB (L), -0.1dB (R), -54.5 dBFS (L), -55.6 dBFS (R)
antichef: -0.1 dB (L), -0.1 dB (R), -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), -52.9 dBFS (L), -54.1 dBFS (R)

Edirol UA-1000 (gollumsluvslave)
0.2 dB (L), 0.2 dB (R), -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), -53.9 dBFS (L), -55.2 dBFS (R)
Slow DA - Slow AD: 0.4 dB (L), 0.3 dB (R), -52.8 dBFS (L), -54.3 dBFS (R)
SD Sharp DA - SD Sharp AD: 0.4 dB (L), 0.4 dB (R), -44.5 dBFS (L), -45.5 dBFS (R)
SD Slow DA - SD slow AD: 0.3 dB (L), 0.3 dB (R) -47.9 dBFS (L), -48.9 dBFS (R)
FS version, unspecified setting (Archimago): 0.2 dB (L), 0.2 dB (R), -44.3 dBFS (L), -45.4 dBFS (R)

Alesis io|26 (mistergo)
0.7 dB (L), 0.7 dB (R), -53.9 dBFS (L), -55.0 dBFS (R)

TC Electronic Studio Konnekt 48
DownSideUp: 13.1 dB (L), 13.2 dB (R), -53.6 dBFS (L), -54.9 dBFS (R)
kas_lar: 0.1 dB (L), 0.1 dB (R), -53.4 dBFS (L), -54.7 dBFS (R)

Lynx L22
bezen4uk: 2.9 dB (L), 2.9 dB (R), -53.5 dBFS (L), -54.7 dBFS (R)
jeamsler: 0.1 dB (L), 0.1 dB (R), -53.2 dBFS (L), -54.6 dBFS (R)

ESI [email protected] (Agustin Mongelli)
5.6dB (L), 5.7dB (R), -53.4 dBFS (L), -54.7 dBFS (R)

Lynx LynxTWO-B
bezen4uk: 2.8 dB (L), 2.8 dB (R), -53.2 dBFS (L), -54.5 dBFS (R)
mattiasnyc: -0.0 dB (L), -0.0 dB (R), -53.4 dBFS (L), -54.7 dBFS (R)

ESI [email protected] XTe
DUJS: -0.3 dB (L), -0.3 dB (R), -53.1 dBFS (L), -54.5 dBFS (R)
edneysis: -0.4 dB (L), -0.5 dB (R), -53.3 dBFS (L), -54.7 dBFS (R)

Lynx E44
LTrain: -0.0 dB (L), -0.0 dB (R), -52.5 dBFS (L), -53.9 dBFS (R)
Zek: -0.1 dB (L), -0.1 dB (R), -52.4 dBFS (L), -53.6 dBFS (R)

RME HDSP 9632 (schtim)
0.5 dB (L), 0.5 dB (R), -51.9 dBFS (L), -53.2 dBFS (R)

RME ADI-8 QS (lou latch)
0.0 dB (L), 0.0 dB (R), -51.7 dBFS (L), -52.7 dBFS (R)
5.0 dB (L), 5.0 dB (R), -51.7 dBFS (L), -52.9 dBFS (R)

Audient iD22 through insert returns
andyfromHH: 0.0 dB (L), 0.1 dB (R), -45.4 dBFS (L), -46.6 dBFS (R)
Hardtailed out 3-4: -0.1 dB (L), -0.1 dB (R), -51.6 dBFS (L), -52.4 dBFS (R)
kas_lar
out 1-2: -0.1 dB (L), -0.1B (R), -51.6 dBFS (L), -52.8 dBFS (R)
out 3-4: 0.0 dB (L), 0.0 dB (R), -51.4 dBFS (L), -53.0 dBFS (R)
IburiedPaul, out 1&2: -0.1 dB (L), 0.1 dB (R) (R), -51.8 dBFS (L), -53.1 dBFS (R)
sm5
out 1-2: 1.2 dB (L), 0.1 dB (R), -51.7 dBFS (L), -53.0 dBFS (R)
out 3-4: 0.2 dB (L), 0.2 dB (R), -51.6 dBFS (L), -52.9 dBFS (R)
feutche: 0.9 dB (L), 0.9 dB (R), -51.7 dBFS (L), -53.0 dBFS (R)

Prism Lyra 1 (capn357)
0.0 dB (L), -0.0 dB (R), -51.6 dBFS (L), -53.0 dBFS (R)

Prism Lyra 2 (Shptq)
0.0 dB (L), -0.0 dB (R), -51.3 dBFS (L), -52.6 dBFS (R)

Prism Orpheus (MainTime)
0.1 dB (L), 0.1 dB (R), -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), -50.7 dBFS (L), -52.1 dBFS (R)

Universal Audio Apollo 16 mkII (antichef)
0.1 dB (L), 0.1 dB (R), -50.7 dBFS (L), -52.1 dBFS (R)

RME Fireface 400
didier.brest: 0.3 dB (L), 0.3 dB (R), -50.7 dBFS (L), -52.0 dBFS (R)
MusicManic: 0.2 dB (L), 0.3 dB (R), -44.4 dBFS (L), -46.0 dBFS (R)

Merging Anubis Pro (Zek)
DA filter set to Slow: 0.6 dB (L), 0.6 dB (R), -50.5 dBFS (L), -51.5 dBFS (R)
DA filter set to Sharp: 0.6 dB (L), 0,6 dB (R), -50.3 dBFS (L), -51.3 dBFS (R)

MOTU Track16 (EvgenyStudio)
7.0 dB (L), 6.9 dB (R), -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), -50.3 dBFS (L , -51.7 dBFS (R)
MattGray (rev. a unit): 0.0 dB (L), 0.0 dB (R), -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), -50.1 dBFS (L), -51.5 dBFS (R)

MOTU 624 -20dB output and +22dB input or 0dB output and +2dB input (EdwardZ7)
0.0 dB (L), -0.0 dB (R), -51.1 dBFS (L), -50.1 dBFS (R)

Apogee Symphony I/O
Ajantis: 0.0 dB (L), 0.0 dB (R), -51,2 dBFS (L), -50,1 dBFS dB (R)
Diegel: -0.2 dB (L), -0.1 dB (R), -51.1 dBFS (L), -50.1 dBFS (R)

MOTU 16A (davidbayles)
1.5 dB (L), 1.5 dB (R), -51.1 dBFS (L), -50.1 dBFS (R)

MOTU 8A
marluck: 3.3 dB (L), 3.3 dB (R), -51.1 dBFS (L), -50.1 dBFS (R)
Zek: 1.2 dB (L), 1.1 dB (R), -51.1 dBFS (L), -50.0 dBFS (R)

Apogee Rosetta 800 (davidbayle)
0.2 dB (L), 0.2 dB (R), -50.0 dBFS (L), -50.9 dBFS (R)

Apogee Rosetta 200 (Winston Tones)

-0.1 dB (L), -0.0 dB (R), -50.7 dBFS (L), -50.0 dBFS (R)

Prism ADA-8XR (shelterr)
-0.0 dB (L), -0.3 dB (R), -50,7 dBFS (L), -50,0 dBFS (R)

Crane Song HEDD-92 (Spartacus)
0.5 dB (L), 0.5 dB (R), -50.7 dBFS (L), -50.0 dBFS (R)

TC Electronics Impact Twin
AndG
: 0.5 dB (L), 0.8 dB (R), -52.5 dBFS (L), -53.8 dBFS (R)
jeamsler: 1.5 dB (L), 1.7 dB (R), -49,5 dBFS (L), -50,8 dBFS (R)
Coucou: -0.1 dB (L), -0.0 dB (R), -49.5 dBFS (L), -50.5 dBFS (R)
ben: 0.5 dB (L), 0.8 dB (R), -49.6 dBFS (L), -50.9 dBFS (R)

MOTU 896HD (fredrikberg)
1.1 dB (L), 1.1 dB (R), -49.4 dBFS (L), -50.7 dBFS (R)

Echo Audiofire 12 (guze)
0.7 dB (L), 0.7 dB (R), -49.2 dBFS (L), -50.3 dBFS (R)

Antelope Orion32+ | Gen3 (Dan O)
Monitor out 1-2 to line in 1-2: 0.2 dB (L), 0.2 dB (R), -48.9 dBFS (L), -49.9 dBFS (R)
Line out 1-2 to line in 1-2: 0.4 dB (L), 0.3 dB (R), -44.1 dBFS (L), -45.2 dBFS (R)
Line out 31-32 to line in: 0.3 db (L), 0.3 dB (R), -44.1 dBFS (L), -45.2 dBFS (R)

PreSonus RML32AI (Xav)
-0.8 dB (L), -0.7 dB (R), -48.8 dBFS (L), -50.1 dBFS (R)

RME MADIface Pro (2mmi)
XLR out to XLR in: 0.8 dB (L), 0.8 dB (R), -47.6 dBFS (L), -48.6 dBFS (R)
XLR out to jack in: 0.1 dB (L), 0.1 dB (R), -48.8 dBFS(L), -49.8 dBFS (R)

Konnekt Live (livebox)
7.0 dB (L), 7.0 dB (R), -48.6 dBFS (L), -50.0 dBFS (R)

MOTU 828 Mk3 hybrid
South Paul: 4.5 dB (L), 4.4 dB (R), -48.3 dBFS (L), -48.4 dBFS (R)
jeamsler: 3.5 dB (L), 3.5 dB (R), -48.1 dBFS (L), -48.5 dBFS (R)

Steinberg AXR4T (Zek)
0.6 dB (L), 0.6 dB (R), -48.2 dBFS (L), -49.5 dBFS (R)

Antelope Discrete 4 (Coucou)
0.3 dB (L), 0.3 dB (R), -48.2 dBFS (L), -49.3 dBFS (R)

Avid HD I/O 16x16 Analog (Pezzn)
-0.0 dB (L), -0,0 dB (R), -47.7 dBFS (L), -48.1 dBFS (R)

SPL Madison
living sounds - Early production unit: 0.0 dB (L), 0.0 dB (R), -47.6 dBFS (L), -49.0 dBFS (R)
funkakuchi on Pragmatic Audio: 0.0 dB (L), 0.1 dB (R), -47.7 dB (L), -49.0 dB (R)
paulthesparky
0.1 dB (L), 0.1 dB (R), -47.7 dBFS (L), -49.0 dBFS (R)

MOTU M4 (eigentone1)
2.5 dB (L), 2.5 dB (R), -47.7 dBFS (L), -49.0 dBFS (R)

SSL Alpha-Link MX 16-4 (Sankly)
0.1 dB (L), 0,1 dB (R), -47.6 dBFS (L), -48.9 dBFS (R)

Dell Optiplex 755, front jack analog out to rear mini-jack line in (Winston Tones)
1.2 dB (L), 1.3 dB (R), -47.4 dBFS (L), -48.8 dBFS (R)

Yamaha MONTAGE 6 (Zek)
2.4 dB (L), 2.1 dB (R), -47.3 dBFS (L), -48.6 dBFS (R)

DAD AX24
[email protected]: -0,1 dB (L), -0,1 dB (R), -46.8 dBFS (L), -47.3 dBFS (R)
2mmi, line input: -0.1 dB (L), 0.0 dB (R), -46.1 dBFS (L), -46.8 dBFS (R)
2mmi, mic input @ -15 dB: 1.0 dB (L), 1.0 dB (R), -46.9 dBFS (L), -47.4 dBFS (R)

Antelope Orion32 HD (Actualsizeaudio)
0.1 dB (L), 0.1 dB (R), -46.8 dBFS (L), -47.9 dBFS (R)

Behringer ADA8200 (didier.brest)
gain @ 10 o'clock: 4.3 dB (L), 4.6 dB (R), -46.6 dBFS (L), -47.7 dBFS (R)
gain mini : 14,7 dB (L), 14,3 dB (R), -46,8 dBFS (L), -47,8 dBFS (R)

Echo Audiofire 4
syns: 0.4 dB (L), 0.4 dB (R), -46.7 dBFS (L), -47.8 dBFS (R)
david1103: 0.5 dB (L), 0.4 dB (R), -45.9 dBFS (L), -47.5 dBFS (R)

Antelope Audio Eclipse 384 (Giuseppe Zaccaria)
-0.1 dB (L), -0.2 dB (R), -46.6 dBFS (L), -47.9 dBFS (R)

Universal audio Apollo 8
Duo (Philip Marinelis): 0.1 dB (L), 0.1 dB (R), -46.3 dBFS (L), -47.4 dBFS (R)
Quad (kmr): 0.1 dB (L), 0.1 dB (R), -46.4 dBFS (L), -47.4 dBFS (R)

RME Fireface UFX+ (paulthesparky)
0.2 dB (L), 0.2 dB (R), -46.0 dBFS (L), -47.1 dBFS (R)

Focusrite Red 4Pre (jacko)
8.6 dB (L), 8.6 dB (R), -46.0 dBFS (L), -47.1 dBFS (R)

Apogee Ensemble Thunderbolt (kmr)
0.2 dB (L), 0.3 dB (R), -45.7 dBFS (L), -47.1 dBFS (R)

Echo 2 (bezen4UK)
2.3 dB (L), 2.3 dB (R), -45.7 dBFS (L), -47.0 dBFS (R)

Universal Audio Apollo Quad (davidbayles)
0.3dB (L), 0.3dB (R), -45.7 dBFS (L), -46.4 dBFS (R)

Universal Audio Apollo x6 (Coucou)
0.1 dB (L), 0.1 dB (R), -45.6 dBFS (L), -46.9 dBFS (R)

E-MU 1616M
vechung: 9.7 dB (L), 9.6 dB (R), -45.5 dBFS (L), -46.5 dBFS (R)
The Tenant: 0.1 dB (L), 0.0 dB (R), -44.8 dBFS (L), -45.5 dBFS (R)
left channel only (ben): -0.4 dB (L), -47.7 dBFS (L)

Presonus Quantum (spankjam)
-0.1 dB (L), -0.0 dB (R), -45.2 dBFS (L), -46.3 dBFS (R)

E-MU 1212M (tiberius)
0.9 dB (L), 0.8 dB (R), -45.0 dBFS (L), -45.7 dBFS (R)

Focusrite Saffire PRO 40 (MusicManic)
-0.6 dB (L), 0.3 dB (R), -45.3 dBFS (L), -44.6dBFS (R)

Mackie Onyx Blackjack (kegn51)
2.9 dB (L), 2.9 dB (R), -45.1 dB (L), -44.5 dB (R)

M-Audio FireWire 410 (JonasNorberg)
0.2dB (L), 0.2dB (R), -44.9 dBFS (L), -46.4 dBFS (R)

M-Audio ProFire 2626 (cylens)
-0.5 dB (L), -0.5 dB (R), -44.8 dBFS (L), -46.1 dBFS (R)

Ferrofish A32 (mudseason)
0.5 dB (L), 0.5 dB (R), -44.8 dBFS (L), -45.4 dBFS (R)

Presonus Quantum 4848 (Deckdaddy)
-0.0 dB (L), -0.1 dB (R), -44.6 dBFS (L), -45.7 dBFS

Audient iD44, 1-2 out to Insert Returns 1-2 (sm5)
0.1 dB (L), 0.1 dB (R), -44.5 dBFS (L), -45.6 dBFS (R)

ESI ESP1010 (Agustin Mongelli)
-0,2 dB (L), -0,2 dB (R), -44.4 dBFS (L), -45.9 dBFS (R)

Echo Audiofire 8 non adat CS4272 (guze)
0,8 dB (L), 0,9 dB (R), -44.0 dBFS (L), -43.9 dBFS (R)

RME Babyface Pro (EvgenyStudio)
XLR out to XLR in: -0.1 dB (L), 0.1 dB (R), -43.9 dBFS (L), -48.7 dBFS (R)
Headphone out to two TS line in: 0.1 dB (L), 0.1 dB (R), -48.8 dBFS (L), -49.8 dBFS (R)

MOTU HD192 (delchambre on Audiofanzine)
1.0 dB (L), 1.0 dB (R), -43.8 dBFS (L), -45.3 dBFS (R)

ECHO INDIGO io (bezen4uk)
0.6 dB (L), 0.6 dB (R), -43.8 dB (L), -43.7 dB (R)

Antelope Orion Studio Rev2017 (jeamsler)
Line Out to Line In: 1.3 dB (L), 1.3 dB (R), -43.6 dBFS (L), -44.8 dBFS (R)
Monitor Out to Line In: 1.3 dB (L), 1.3 dB (R), -49.9 dBFS (L), -50.9 dBFS (R)
Reamp Out to Line In: 6.5 dB (L), 6.5 dB (R), -29.7 dBFS (L), -29.3 dBFS (R)

Roland Quad-Capture (IburiedPaul)
0.1 dB (L), 0.0 dB (R), -43.5 dBFS (L), -44.8 dBFS (R)

Elektron Analog Heat MKII (2mmi)
5.1 dB (L), 4.9 dB (R), -43.5 dBFS (L), -44.6 dBFS (R)

Universal Audio Apollo Twin MkII (EvgenyStudio)
Main Outs To Line Ins: 5.9 dB (L), 5.9 dB (R), -43.5 dBFS (L), -44.3 dBFS (R)
Headphones out to Line Ins: 2.9 dB (L), 2.9 dB (R), -44.8 dBFS (L), -46.0 dBFS (R)

RME HDSPe AIO(Touf on Pragmatic Audio)
0.7 dB (L), 0.7 dB (R), -43,4 dBFS (L), -44,7 dBFS (R)

Focusrite Clarett 4Pre (Coucou)
-0.7 dB (L), -0.8 dB (R), -43.4 dBFS (L), -44.6 dBFS (R)

Echo MiaMIDI (jeamsler)
0.2 dB (L), 0.3 dB (R), -43,1 dBFS (L), -44,5 dBFS (R)

Tascam SX-1 (fredrikberg)
10.1 dB (L), 9.7 dB (R), -43.1 dBFS (L), -44.4 dBFS (R)

2011 MacBook Pro (stinkyfingers)
3.5 dB (L), 3.5 dB (R), -43.1 dBFS (L), -43.6 dBFS (R)

E-MU 0404 USB (EdwardZ7)
0.0 dB (L), -0.0 dB (R), -42.9 dBFS (L), -44.3 dBFS (R)

RME Fireface 800
genelec79: 0.3 dB (L), 0.3 dB (R), -42.6 dBFS (R), -44.1 dBFS (L)
-10 dBV outputs to low gain inputs (syns): 15.5 dB (L), 15.6 dB (R), -33.9 dBFS (L), -32.7 dBFS (R)
mudseason: 0.6 dB (L), 0.5 dB (R), -42.8 dBFS (L), -44.0 dBFS (R)

RME Multiface II (juki, Audiofanzine)
Unbalanced, -10 dBV: 0.5 dB (L), 0.4 dB (R), -43.2 dBFS (L), -44.6 dBFS (R)
Balanced, 4 dBu: 0.3 dB (L), 0.2 dB (R), -42.7 dBFS (L), -44.1 dBFS (R)

MOTU Traveler MK1 (sinebox)
2.0 dB (L), 2.1 dB (R), -42.6 dBFS (L), -44.1 dBFS (R)

Audient iD 14 (sm5)
8.8 dB (L), 9.1 dB (R), -42.6 dBFS (L), -43.9 dBFS (R)

Universal Audio Apolllo x16 (Philip Marinelis)
0.4 dB (L), 0.4 dB (R), -42.4 dBFS (L), -43.5 dBFS (R)

RME Fireface UCX (johannburkard, unbalanced link through TS cables and back TRS I/Os)
reference level +4 dBu: 3.6 dB (L), 3.7 dB (R), -42.4 dBFS (L), -43.4 dBFS (R)
reference level -10 dBV: 3.7 dB (L), 3,7 dB (R), -43.4 dBFS (L), -44.6 dBFS (R)

MOTU 4pre (ggsm27)
0.6 dB (L), 0.6 dB (R), -42.1 dBFS (L), -43.3 dBFS (R)

DirectOut ANDIAMO (2mmi)
0.5 dB (L), 0.5 dB (R), -41.9 dBFS (L), -43.2 dBFS (R)

MOTU Traveler MK1 with Black Lion Mod (antichef)
2.0 dB (L), 2.0 dB (R), -41.8 dBFS (L), -43.2 dBFS (R)

MOTU UltraLite (dheming)
0.6 dB (L), 0.5 dB (R), -41.6 dBFS (L), -42.8 dBFS (R)

Antelope Zen Studio (Chris Perra)
Gain 0: 16.9 dB (L), 16.8 dB (R), -41.6 dBFS (L), -42.9 dBFS (R)
Gain 15: 2.2 dB (L), 1.2 dB (R), -41.5 dBFS (L), -42.9 dBFS (R)

Focusrite Liquid Saffire 56
eugtone: 0.9 dB (L), 1.3 dB (R), -41.4 dBFS (L), -41.8 dBFS (R)
Melodeath, line output to microphone input + pad: 0.2 dB (L), 0.2 dB (R), -38.1 dBFS (L), -39.1 dBFS (R)

Tascam US-122L (KindYak)
12.5 dB (L), 12.8 dB (R), -41.3 dBFS (L), -42.7 dBFS (R)

Avid Mbox 3 (Coucou)
5.1 dB (L), 5.1 dB (R), -41.3 dBFS (L), -42.0 dBFS (R)

Steinberg UR824 (kegn51)
-0.4 (L), 0.2 dB (R), -41.0 dBFS (L), -42.3 dBFS (R)

Sony Vaio [email protected] (kegn51)
2.2 dB (L), 2.3 dB (R), -40.9 dBFS (L), -42.7 dBFS (R)

SL Alpha-Link AX (eugtone)
0.3 dB (L), 0.4 dB (R), -40.6 dBFS (L), -42.0 dBFS (R)

Tascam DA-3000 (dheming)
0.5 dB (L), 0.4 dB (R), -40.5 dBFS (L), -40.8 dBFS (R)

Apogee Duet2 (isma)
1.0 dB (L), 1.0 dB (R), -40.2 dBFS (L), -41.6 dBFS (R)

Yamaha Steinberg MR816X (didier.brest)
1.1 dB (L), 0.5 dB (R), -39.9 dB (L), -41.2 dB (R)

Focusrite Saffire PRO 14
(hugoclubs)
27.9 dB (L), 27.6(R), -39.9 dBFS (L), -40.6 dBFS (R)

Antelope Audio Orion (davidbayle)
0.3 dB (L), 0.2 dB (R), -39.6 dBFS (L), -40.9 dBFS (R)

Focusrite Saffire Pro 24 DSP (CoolColJ), first 45s part disregarded, which increases the RMS level of the original by 0.4 dB
5.2 dB (L), 5.2 dB (R), -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), -39.6 dBFS (L), -39.6 dBFS (R)

Eventide H8000FW (jeamsler)
6.0 dB (L), 6.0 dB (R), -39.6 dBFS (L), -39.6 dBFS (R)

Roland UA-25 (bezen4uk)
3.9 dB (L), 3.5 dB (R), -39.3 dBFS (L), -40.5 dBFS (R)

Tascam US-144MKII (capn357)
0,2 dB (L), 0,4 dB (R), -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), -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), -38.8 dBFS (L), -40.3 dBFS (R)
outputs 1-2 to XLR preamp inputs 9-10: 0.4 dB (L), 0.4 dB (R), -35.2 dBFS (L), -36.5 dBFS (R)

Focusrite Forte (Coucou)
9.9 dB (L), 9.9 dB (R), -38.8 dBFS (L), -40.1 dBFS (R)

Digidesign 003 Rack
dheming: 0.4 dB (L), 0.5 dB (R), -38.7 dBFS (L), -39.6 dBFS (R).
Shptq: 0.5 dB (L), 0.5 dB (R), -38.5 dBFS (L), -39.8 dBFS (R)

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

MOTU M2 (manisandher)
0.4 dB (L), 0.4 dB (R), -38.4 dBFS (L), -39.9 dBFS

Sonifex RB-ADDA (fredrikberg)
0.2 dB (L), 0.2 dB (R), -38.4 dBFS (L), -39.7 dBFS (R)

Echo AudioFire 2 (dheming)
0.6 dB (L), 0.2 dB (R), -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), -34.7 dBFS (L), -36.0 dBFS (R)
3&4 in to 3&4 out: 1.1 dB (L), 1.2 dB (R), -37.7 dBFS (L), -38.9 dBFS (R)

Lavry Blue (Touf on Pragmatic Audio)
Mode Crystal: 0.2 dB (L), 0.2 dB (R), -37.3 dBFS (L), -38.5 dBFS (R)
Mode Wide: 0.1 dB (L), 0.1 dB (R), -37.3 dBFS (L), -38.5 dBFS (R)

Behringer XR18 (livebox)
9.5 dB (L), 9.7 dB (R), -37.2 dBFS (L), -38.6 dBFS (R)

Roland UA-22 Duo Capture-Ex (zoreviy)
5.1 dB (L), 5.2 dB (R), -37.1 dBFS (L), -36.8 dBFS (R)

Zoom F4 (sm5)
main out in XLR 1-2: 0.1 dB (L), 0.1 dB (R), -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), -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), -36.1 dBFS (L), -37.5 dBFS (R)

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

Asus 11.6" laptop (kegn51)
1.2 dB (L), 1.6 dB (R), -35.9 dBFS (L), -37.3 dBFS (R)

Tascam UH-7000 (sm5)
6.8 dB (L), 6.5 dB (R), -35.9 dBFS (L), -37.3 dBFS (R)

Steinberg UR22 (jeamsler)
1.5 dB (L), 1.0 dB (R), -34.7 dBFS (L), -36.1 dBFS (R)

Edirol FA-66 (didier.brest)
1.0 dB (L), 0.6 dB (R), -34.5 dBFS (L), -35.5 dBFS (R)

MOTU MicroBook (feutche)
3.7 dB (L), 3.7 dB (R), -34.2 dBFS (L), -35.5 dBFS (R)

Focusrite Scarlett 2i2 (EvgenyStudio)
15.5 dB (L), 15.5 dB (R), -32,4 dBFS (L), -31,7 dBFS (R)

Line 6 POD Studio UX2 (Piux)
-0.6 dB (L), -0.5 dB (R), -31.4 dBFS (L), -32.7 dBFS (R)

RME Babyface (didier.brest)
0.4 dB (L), 0.5 dB (R), -29.6 dBFS (L), -30.9 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), -33.5 dBFS (L), -33.5 dBFS (R)
L/R Mini XLR to 1/2 XLR: 0.2 dB (L), 0.5 dB (R), -29.1 dBFS (L), -30.4 dBFS (R)


External clocking


Eventide H9000R clocked by RME MADIface Pro (2mmi)
-0.0 dB (L), -0.1 dB (R), -77.9 dBFS (L), -77.9 dBFS (R)

MOTU 828 MkII clocked by Lynx Hilo (capn357)
0.1 dB (L), 0.1 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)

MOTU 828 MkII clocked by Lucid GENx192 (MusicManic)
-0.1 dB (L), -0.0 dB (R), -56.7 dBFS (L), -58.0 dBFS (R)

Mytek 8x192 ADDA clocked by another Mytek 8x192 ADDA (mudseason)
-0.1 dB (L), -0.1 dB (R), -55.7 dBFS (L), -57.2 dBFS (R)

Lynx Aurora 8 clocked by RME HDSPe RayDAT (cylens)
-0.1 dB (L), -0.1 dB (R), -54.5 dBFS (L), -55.6 dBFS (R)

Audient iD22 clocked by RME Digiface (feutche)
0.9 dB (L), 0.9 dB (R), -51.7 dBFS (L), -53.0 dBFS (R)

Apogee Rosetta 800 clocked by Antelope Orion (davidbayle)
0.2 dB (L), 0.2 dB (R), -50.9 dBFS (L), -50.0 dBFS (R)

Apogee Rosetta 800 clocked by Universal Audio Apollo Quad (davidbayle)
0.2 dB (L), 0.2 dB (R), -50.9 dBFS (L), -50.0 dBFS (R)

RME ADI-8 DS Mk III clocked through ADAT by RME HDSP 9652 (maartenl945)
0,2 dB (L), 0,2 dB (R), -49.9 dBFS (L), -49.9 dBFS (R)

Alesis HD24XR, Jim Williams modified, clocked by RME RayDat (spice house)
5.6 dB (L), 5.5 dB (R), -49.2 dBFS (L), -50.1 dBFS (R)

SPL Madison clocked by RME HDSPe Madi PCIE Card through world clock (paulthesparky)

0.1 dB (L), 0.1 dB (R), -47.7 dBFS (L), -49.0 dBFS (R)

Ferrofish A16 MK-II clocked by RME HDSPe RayDAT (ST.)
0.3 dB (L), 0.3 dB (R); -47.1 dBFS (L), -48.4 dBFS (R)

Behringer ADA8200 clocked by RME Digiset (Chris Perra)
Gain @ 11 o'clock: 6.0 dB (L), 5.5 dB (R), -46.6 dBFS (L), -47.7 dBFS (R)
Gain minimum: 14.7 dB (L), 15.3 dB (R), -46.7 dBFS (L), -40.2 dBFS (R)

Echo Audiofire 8 with ADAT clocked by RME HDSP 9632 (schtim)
0.1 dB (L), 0.1 db (R), -46.3 dBFS (L), -47.7 dBFS (R)

DAD AX24 clocked by RME MADIface Pro (2mmi)
-0.1 dB (L), 0.0 dB (R), -46.2 dBFS (L), -46.8 dBFS (R)

Universal Audio Apollo Quad clocked by Apogee Rosetta (davidbayle)
0.3 dB (L), 0.3 dB (R), -45.7 dBFS (L), -46.4 dBFS (R)

Universal Audio Apollo Quad clocked by Antelope Orion (davidbayle)
0.3 dB (L), 0.3 dB (R), -45.7 dBFS (L), -46.4 dBFS (R)

Ferrofish A32 clocked by Mytek 8x192 ADDA (mudseason)
0.5 dB (L), 0.4 dB (R), -44.7 dBFS (L), -45.2 dBFS (R)

M-Audio ProFire 2626 clocked by RME HDSPe RayDAT (cylens)
-0.5 dB (L), -0.5 dB (R), -44.9 dBFS (L), -46.1 dBFS (R)

M-Audio ProFire 2626 clocked by Lynx Aurora8 (cylens)
-0.5 dB (L), -0.5 dB (R), -44.8 dBFS (L), -46.1 dBFS (R)

Behringer ADA8000 clocked by RME Fireface UFX (Krisprolls on Pragmatic Audio)
gain min: 14.8 dB (L), 14.3 dB (R), -46.8 dBFS (L), -47.8 dBFS (R)
gain @ 0: 13.4 dB (L), 13.4 dB (R), -44.4 dBFS (L), -45.4 dBFS (R)
gain @ 4 : 2.5 dB (L), 1.4 dB (R), -41.7 dBFS (L), -45.0 dBFS (R)

RME Fireface 800 clocked by Yamaha 02R (genelec79)
0.3 dB (L), 0.3 dB (R), -42.7 dBFS (L), -44.1 dBFS (R)

Black Lion Audio modified Motu Traveler MK1 clocked by Lynx Aurora 16 or Black Lion Micro Clock mk1 (antichef)
2.0 dB (L), 2.0 dB (R), -41.85 dBFS (L), -43.2 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), -43.3 dBFS (L), -44.6 dBFS (R)
balanced line inputs 1-2, 10 dB gain: 4.5 dB (L), 4.5 dB (R), -39.8 dBFS (L), -41.2 dBFS (R)


Separate converters

Forssell MDAC-4 ----> Focusrite Blue 245 as master, (funkakuchi on Pragmatic Audio = funka on Gearslutz)
Focusrite sensitivity 0 dBFS = 16 dBu
0.1 dB (L), 0.0 dB (R), -78.0 dBFS (L), -78.0 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 10
4.0 dB (L), 4.0 dB (R), -81.3 dBFS (L), -81.1 dBFS (R)
Focusrite sensitivity 0 dBFS = 20 dBu, serial number = 53
3.9 dB (L), 4.0 dB (R), -80.2 dB (L), -80.2 dB (R)

MSB Platinum IV Plus DAC ---> MSB Studio ADC as master (DUJS)
4.9 dB (L), 4.9 dB (R), -79.8 dBFS (L), -80.8 dBFS (R)

SPL Madison ---> Focusrite Blue 245 as master (funka)
4.0 dB (L), 4.1 dB (R), -79.2 dBFS (L), -79.2 dBFS (R)

ReQuest Audio, The Beast DAC as master ---> MSB Platinum Studio ADC (DUJS)
4.5 dB (L), 4.4 dB (R), -78.5 dBFS (L), -77.7 dBFS (R)

Swissonic DA24 MkII ---> Texas Instrument PCM4222 Evaluation Module as master (living sounds), DC filter off.
0,1 dB (L), 0,1 dB (R), -73.0 dBFS (L), -73.8 dBFS (R)

SPL Madison ---> Texas Instrument PCM4222 Evaluation Module as master (living sounds). Details of the clocking., DC filter off.
0.2 dB (L), 0.2 dB (R), -74.4 dBFS (L), -72.2 dBFS (R)

ESI [email protected] XTe DAC ---> MSB Studio ADC as master (DUJS)
1.6 dB (L), 1.6 dB (R), -66.1 dBFS (L), -67.6 dBFS (R)

Zod Modified Ross Martin Audio Dual 1794 ---> Mytek Brooklyn ADC, Metric Halo ULN8 or Broooklyn as master (Actualsizeaudio)
0.6 dB (L), 0.5 dB (R), -63.4 dBFS (L), -64.7 dBFS (R) (1 sample L vs. R shift caused by ULN8 compensated for)

Zod Audio modded Ross Martin Audio AES8 DAC ---> Mytek Brooklyn ADC, Metric Halo ULN8 or Broooklyn as master (Actualsizeaudio)
0.2 dB (L), 0.1 dB (R), -62.8 dBFS (L), -64.2 dBFS (R) (1 sample L vs. R shift caused by ULN8 compensated for)

Metric Halo ULN8 ---> Mytek Brooklyn, ULN8 or Brooklyn as master (Actualsizeaudio)
0.4 dB (L), 0.3 (R), -61.2 dBFS (L), -62.6 dBFS (R) (1 sample L vs. R shift caused by ULN8 compensated for)

Forssell MADA-2 ---> Antelope Pure2 (MattGray)
0.0 dB (L), 0.0 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Ross Martin Audio AES EIGHT 1794A DAC ---> Metric Halo ULN8 as master (Actualsizeaudio)
-0.1 dB (L), -0,3 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Zod Audio modded Ross Martin Audio AES8 into Metric Halo ULN-8 3d as master (Actualsizeaudio)
-0.1 dB (L), 0.3 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Lynx Hilo with SRC 88.2 as master to MOTU 828 MkII (capn357)
0.3 dB (L), 0.4 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Motu 24Ao ---> Antelope Pure2 as master (leolycra)
-0.2 dB (L), -0.2 dB (R), -56.8 dBFS (L), -58.1 dBFS (R)

MOTU 828 MkII USB ---> MOTU 828 MkII Firewire as master (capn357)
0.1 dB (L), 0.1 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)

Forssell MADA-2 2-a ---> Texas Instrument PCM4222 Evaluation Module as master (Mikathechou)
0.7 dB (L), 0.7 dB (R), -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), -56.4 dBFS (L), -57.8 dBFS (R)

DirectOut ANDIAMO ---> Eventide H9000R (2mmi)

0.1 dB (L), 0.0 dB (R), -56.2 dBFS (L), -57.8 dBFS (R)

Genex GXD8 ---> Genex GXA8 (Antoine Fabi)
0.1 dB (L), 0.1 dB (R), -55.7 dBFS (L), -55.7 dBFS (R)

Metric Halo LIO-8 ---> Burl B2 Bomber ADC as master through world clock (Antoine Fabi)
1.8 dB (L), 1.8 dB (R), -55.7 dBFS (L), -57.0 dBFS (R)

Genex GXD8 --> Burl B2 Bomber ADC as master through AES (Antoine Fabi)
2.0 dB (L), 2.0 dB (R), -54.8 dBFS (L), -55.6 dBFS (R)

Forssell MDAC-4 ---> Studer D19 as master (funkakuchi on Pragmatic Audio)
0.1 dB (L), 0.1 dB (R), -54.7 dBFS (L), -56.4 dBFS (R)

Swissonic DA24 Mk2 ---> Audient iD22 as master ([URL="https://www.gearslutz.com/board/gear-shoot-outs-sound-file-comparisons-audio-tests/607481-evaluating-ad-da-loops-means-audio-diffmaker-post13975627.html#post13975627"]fedor.tche/URL])
0.9 dB (L), 1.0 dB (R), -54.6 dBFS (L), -56.0 dBFS (R)

Lynx Aurora 16 ---> Focusrite Blue 245 as master (funkakuchi on Pragamatic Audio)
0.0 dB (L), 0.0 dB (R), -53.5 dBFS (L), -52.5 dBFS(R)

Lynx Aurora ---> Texas Instrument PCM4222 Evaluation Module as master
living sounds, DC filter off ?.
Synchro lock off: 0.1 dB (L), 0.1 dB (R), -53.4 dBFS (L), -52.5 dBFS (R)
Synchro lock on: 0.3 dB (L), 0.3 dB (R), -53.4 dBFS (L), -52.5 dBFS (R)
Mikathechou: 1.1 dB (L), 1.1 dB (R), -51.2 dBFS (L), -50.9 dBFS (R)

Genex GXD8 --> Dangerous Music CONVERT-AD+ as master through AES (Antoine Fabi)
0.4 dB (L), 0.4 dB (R), -50.8 dBFS (L), -52.1 dBFS (R)

Lynx Hilo as master ---> MOTU 828 MkII USB (capn357)
2.3 dB (L), 2.3 dB (R), -51.2 dBFS (L), -50.8 dBFS (R)

Focusrite Scarlett 18i20 (1rst generation) to Antelope Zen Tour (esldude)
-0.2 dB (L), -0.2 dB (R), -50.7 dBFS (L), -50.3 dBFS (R)

Apogee DA-16X ---> Apogee AD-16X (Todd Loomis)
2.4 dB (L), 2.4 dB (R), -50.7 dBFS (L), -49.9 dBFS (R)

MOTU 828 MkII ---> Lynx Hilo as master (capn357)
1.6 dB (L), 1.6 dB (R), -51.2 dBFS (L), -50.2 dBFS (R)

Emotiva XMC-1 -> Lynx Hilo as master (capn357)
0.2 dB (L), 0.2 dB (R), -51.0 dBFS (L), -50.0 dBFS (R)

Antelope Pure2 ---> Forssell MADA-2 (MattGray)
0.0 dB (L), 0.0 dB (R), -50.1 dBFS (L), -51.5 dBFS (R)

Forssell MDAC-4 ---> Forssell MADC-2 (first version) as master (funkakuchi on Pragmatic Audio)
0.5dB (L), 0.5 dB (R), -50.0 dBFS (L), -51.4 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), -50.0 dBFS (L), -51.3 dBFS (R)

Tascam UH-7000 ---> Lynx Hilo as master (sm5)
1.0 dB (L), 0.9 dB (R), -50.6 dBFS (L), -49.9 dBFS (R)

SPL Madison ---> Lynx Aurora 16 as master through world clock (funka)
2.1 dB (L), 2.1 dB (R), -50.3 dBFS (L), -49.8 dBFS (R)

Ross Martin Audio AES8 DAC to Ross Martin Audio PCM4222ADC master (Actualsizeaudio)

2.4 dB (L), 2.1 dB (R), -49.7 dBFS (L), -50.9 dBFS (R)

Motu 24Ao as master ---> Lynx Aurora 8 (leolycra)
-0.2 dB (L), -0.2 dB (R), -50.2 dBFS (L), -49.7 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), -49.6 dBFS (L), -51.0 dBFS (R)

Forssell MADA-2 --->_Aurora_16-VT as master (Mikathechou)
1.0 dB (L), 1.0 dB (R), -49.6 dBFS (L), -49.4 dBFS (R)

RME MADIface Pro ---> Eventide H9000R (2mmi)
5.6 dB (L), 5.5 dB (R), -49.2 dBFS (L), -50.1 dBFS (R)

SPL Madison ---> RME Fireface UFX+ (paulthesparky)
RME Fireface UFX+ as master through worldclock: 0.0 dB (L), 0.1 dB (R), -49.0 dBFS (L) -50.3 dBFS (R)
SPL Madison as master through worldclock: 0.1 dB (L), 0.1 dB (R), -49.0 dBFS (L) -50.3 dBFS (R)
RME HDSPe Madi PCIE Card as master through world clock: 0.0 dB (L), 0.1 dB (R), -49.0 dBFS (L) -50.3 dBFS (R)
RME HDSPe Madi PCIE Card as master through MADI
: 0.0 dB (L), 0.1 dB (R), -49.0 dBFS (L) -50.3 dBFS (R)

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

1.1 dB (L), 1.1 dB (R), -48.0 dBFS (L), -48.3 dBFS (R)

Eventide H9000R ---> RME MADIface Pro (2mmi)
0.6 dB (L), 0.6 dB (R), -47.9 dBFS (L), -49.1 dBFS (R)

Ross Martin Audio DAC ---> Alesis HD24XR, Jim Williams modified, clocked by RME RayDat (spice house)
-0.1 dB (L), 0.1 dB (R), -47.9 dBFS (L), -48.7 dBFS (R)

Emotiva XDA-1 ---> Prism Lyra 1 as master (capn357)
0.0 dB (L), 0.0 dB (R), -45.5 dBFS (L), -46.5 dBFS (R)

Eventide H9000R ---> DirectOut ANDIAMO (2mmi)

6.5 dB (L), 6.4 dB (R), -43.7 dBFS (L), -45.1 dBFS (R)

Audient iD 14 ---> Lynx Hilo as master (sm5)
5.8 dB (L), 5.8 dB (R), -45.3 dBFS (L), -46.2 dBFS (R)

Tascam DA3000 ---> Mytek Stereo 192 ADC as master (dheming)
3.4 dB (L), 3.3 dB (R), -40.9 dBFS (L), -40.7 dBFS (R)

Digidesign Rack ---> Mytek Stereo 192 ADC as master (dheming)
0.7 dB (L), 0.7 dB (R), -38.2 dBFS (L), -39.2 dBFS (R)

Metric Halo ULN8 DAC to Ross Martin Audio PCM4222ADC, ADC master or DAC master (Actualsizeaudio)
0.0 dB (L), 0.1 dB (R), -37.5 dBFS (L), -38.7 dBFS (R)

Zod Audio modified Ross Martin Audio 1794 DAC ---> Zod Audio modifed Ross Martin Audio PCM4222, Mytek Brooklyn as master via word clock, link to DAW through Metric Halo ULN8 (Actualsizeaudio)
3.8 dB (L), 3.8 dB (R), -35.6 dBFS (L), -35.0 dBFS (R) (1 sample L vs. R shift caused by ULN8 compensated for)

Atoll DAC200 --> RME Babyface as master (didier.brest)

1.0 dB (L), 1.3 dB (R), -30.5 dBFS (L), -32.1 dBFS (R)

Benchmark DAC1 phone output ---> Echo Audiofire 4 (david1103)
3.7 dB (L), 4.7 dB (R), -23.4 dBFS (L), -23.4 dBFS (R)

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 (separate DAC and ADC have to be driven by the same clock),
- 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 (and the clocking for external clocking or separate converters).
Your contribution is welcome even if your converter is already in the above list.
Thank you !

Last edited by didier.brest; 1 week ago at 08:27 PM..
Old 3 weeks ago
  #2126
Thank you @ didier.brest for doing this test. Keep ignoring the distractors, they pop up in so many threads...
Old 3 weeks ago | Show parent
  #2127
Gear Nut
 
Quote:
Originally Posted by hacid View Post
I will not be the first to say this (I didn't really read all 71 pages) but maybe every other page we need this reminder.
This test prove to be completely faulty and all the results are meaningless yet it still continue.
This is a disservice for all of us members of gearslutz.

post the proper test methods and move on
Old 3 weeks ago | Show parent
  #2128
Gear Nut
 
🎧 5 years
I mean really?

How presumptuous of you to make such a statement on behalf of all Gearslutz members.

Thanks again for posting the latest 'List of Results' @ didier.brest

Last edited by paulthesparky; 2 weeks ago at 02:20 PM.. Reason: Removed Quote as per Gearslutz Rules
Old 2 weeks ago | Show parent
  #2129
Lives for gear
 
guigui's Avatar
 
Quote:
Originally Posted by johannburkard View Post
Thank you @ didier.brest for doing this test. Keep ignoring the distractors, they pop up in so many threads...
This. I recommend everyone to just ignore it.
πŸ“ Reply

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