Quote:
Originally Posted by RKrizman
Sorry Mike, I don't mean to be on your case. We're just having a discussion here. You put some data up and it's being analyzed, no big. I mean, that's the point of these forums.
What I don't understand is how different clocks could make a difference in the final product when you're doing a BTD. So, if you're hearing a difference, I think it must be from something else.
-R
I didn't mind your comments after the first test, because the first test was pretty sloppy. Basically, I wanted to know if I would hear a difference in a BTD mixdown. And I remember thinking, like you, that I would probably have to go through the analog outs of the PSX100SE to the MasterLink to capture the sound I'm hearing. Makes perfect sense, because then the D/A is in play.
But I thought what the hell, try BounceToDisk first. I was surprised by the results, reported that, and someone asked if they could hear the files, so I uploaded what I had at the time. You and Seymour questioned the methodology based on the .5db smoking gun, so I ran the test again.
Here's how I ran the second test:
I pulled up the Pro Tools session with the guitar and vocal I used in the first test, and highlighted the part I wanted to bounce. Then I set everything to the Big Ben clock. For this test, I kept the Kurzweil KSP8 out of it -- no hardware or software reverb of any kind was used, so it's dry, dry, dry. Also, no external digital components were used except for the Big Ben and PSX100SE.
1) Pro Tools LE "Clock Source" was set to S/PDIF. It was kept there for both tests.
2) The Apogee PSX100SE, connected to the Digi 001 via S/PDIF, was set to Word Clock Lock.
3) The PSX100SE was connected via BNC connection to the Word Clock output of the Big Ben.
4) The Big Ben was turned on and set to 44.1.
5) I did bounce to disk, set to 16-bit wav, 44.1. On the Master Volume of Pro Tools I used the PowR Dither plugin.
You can find the result at
http://www.deceptivesound.com/BigBen.mp3
After that bounce, I left the Pro Tools software exactly as it was for the first test. Let me say this one more time: There was no Pro Tools LE software change from the Big Ben bounce to the PSX100SE bounce -- that means clock source was again left at S/PDIF.
There was a hardware change. This is what I did.
1) I turned off my monitors (the change generates a lot of noise, man. People should be aware of this.)
2) I turned off the Big Ben at the power button.
3) I set the PSX100SE to Crystal, 44.1. Now when Pro Tools looked to the S/PDIF line for the clock, it would use the PSX100SE.
4) I turned on the speaker montiors.
5) I bounced to disk exactly as above.
The result was
http://www.deceptivesound.com/PSX100.mp3
RKrizman wrote, "So, if you're hearing a difference, I think it must be from something else."
If that's true, then what do you suppose the something else might be? It's not external reverb, right?
Don't get me wrong, I can see your point. I'm not sure why there's a difference either. More specifically, I'm surprised that I'm hearing in the bounces something pretty close to what I heard through the speakers during the bounce (although what I heard through the speakers was from a 24-bit source).
I can't explain the result either, but I can tell you it's not because I did something stupid or dishonest during this last test.
Jasper
PS -- I guess in the spirit of full disclosure, I should point out that the S/PDIF connection between the Digi 001 and the PSX100SE is separated by a Midiman DigiPatch digital patchbay. Of course, the patchbay was kept at the same settings for both bounces, so essentially that's a straight wire. Also, the analog outs of the PSX100SE are connected to a Coleman M3, and then to Hafler monitors. That's pretty much every little detail I can think of.