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Best AD/DA converters Digital Converters
Old 8th August 2014
  #61
You don't know anything about me, so it is best not to guess.

The Prism sounds like it has cheap-chips that are breaking when its used improperly.

I have even seen someone blow one up, right in front of me.

That Poor, Poor Bastard, he had to send it all the way back to the UK for repair..Ah well, I tried to tell him...

So, I have heard this myself.

You call that pleasing?

Pretty Awful
Old 8th August 2014
  #62
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shelterr's Avatar
 

Quote:
Originally Posted by Doc Mixwell View Post
You don't know anything about me, so it is best not to guess.

The Prism sounds like it has cheap-chips that are breaking when its used improperly.

I have even seen someone blow one up, right in front of me.

That Poor, Poor Bastard, he had to send it all the way back to the UK for repair..Ah well, I tried to tell him...

So, I have heard this myself.

You call that pleasing?

Pretty Awful
My studio partner had a G5 tower literally explode in his studio some years ago. **** happens and he still uses Mac Towers. I'm so sorry to hear you were traumatized by something you saw. Obviously this conversation is pointless now because you saw one guy "blow up" his Prism.

There you have it folks, regardless of sound quality, don't buy a Prism because a guy saw one blow up.

Truth be told, I almost never turn my ADA-8XR off and I run it as hard as I feel like at all times. Never had one single issue. Come to think of it, NONE of my convertors ever blew up no matter what signal I sent them. Weird deal...
Old 8th August 2014
  #63
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shelterr's Avatar
 

The only reason I even bothered chiming in in this thread was because I fit the exact description of a person who had used almost all of the gear that the OP was interested in.

"I was wondering if any of you has ever tried doing a showdown between the converters like prism, lavry, antelope, forsell, pacific microsonics, burl audio or even any others. Its unfortunate that in a country like India I cannot get all theses top products in 1 place at 1 time to compare. If anyone has done such a thing then please share your conclusions."

How DARE I share my hard earned conclusions with a stranger in need on an internet forum!
Old 8th August 2014
  #64
I put all your postings on deep deep discount,
*Statements such as
"the prism clock sounds modern"
"the JCF sounded heavily compressed"
"I can't trust anyone who blah blah blah a Forrsell Tech"
These are booty engineer statements,
no real Audio Engineer would say these things in light of reviewing a device properly

Not to mention all the other silliness you mentioned

"broken shards of glass"...Very telling about your art form
...I tried to listen to your music but was assulated by it, so I hit the little "x" button on my internet browser
mission accomplished!

You are in the bargin bin
Old 8th August 2014
  #65
Gear Addict
a lot of people say the Burl b2 bomber adc is coloured but it's the most transparent, neutral and natural sounding I have heard
Old 8th August 2014
  #66
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Plush's Avatar
For the OP--a lot of the suggestions here are for discontinued equipment. dCS, Pacific Microsonics, + others were excellent units, but not made anymore.

For top top conversion I point you to Digital Audio Denmark AX24 and AX32. Also check out the Nagra analog circuitry inspired Merging Technologies HORUS and HAPI. JCF converters offer a fantastic sound. Both DAD and Merging offer super modern conversion with excellent mic amps.

p.s.--anyone who jams, rams, pushes, is a pusher, is a overload dealer with their converter is an amateur. They don't understand digital audio nor do they understand the levels they are dealing with.

Not one single converter is made to offer good sound when the
"owner / operator" (much like an operator of ditch digging equipment) goes so extremely overboard.
Old 8th August 2014
  #67
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shelterr's Avatar
 

Quote:
Originally Posted by Doc Mixwell View Post
I put all your postings on deep deep discount,
*Statements such as
"the prism clock sounds modern"
"the JCF sounded heavily compressed"
"I can't trust anyone who blah blah blah a Forrsell Tech"
These are booty engineer statements,
no real Audio Engineer would say these things in light of reviewing a device properly

Not to mention all the other silliness you mentioned

"broken shards of glass"...Very telling about your art form
...I tried to listen to your music but was assulated by it, so I hit the little "x" button on my internet browser
mission accomplished!

You are in the bargin bin
Listen man, I'm SORRY I never bought any gear from you and I'm SORRY the gear that I reccomend to people doesn't generate any sales for you. If I buy an Apogee Symphony from you at full retail can we kiss and make up? Maybe give me a "Booty Engineer" discount?

But seriously, the OP asked for the opinion of a working professional who had knowledge of the gear. I am that guy. I make records using this gear every day. I do not SELL gear for a living and my opinion is based on lots of very geeky testing, real world results, and backed up with hard earned money.

I have nothing to gain by telling anyone this info. It took years of my life and tens of thousands of dollars to figure out and I can't figure out why someone like Doc Mixwell would be so upset.

I know I'm certainly NOT upset these days! Since getting the Prism ADA-8XR mixing goes significantly faster, I work less late nights, clients are more satisfied, and I make more money in less time. This isn't some paid Prism testimonial. It's the reality of my life and anyone who knows me could vouch for it.
Old 8th August 2014
  #68
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shelterr's Avatar
 

Quote:
Originally Posted by Plush View Post
For the OP--a lot of the suggestions here are for discontinued equipment. dCS, Pacific Microsonics, + others were excellent units, but not made anymore.

For top top conversion I point you to Digital Audio Denmark AX24 and AX32. Also check out the Nagra analog circuitry inspired Merging Technologies HORUS and HAPI. JCF converters offer a fantastic sound. Both DAD and Merging offer super modern conversion with excellent mic amps.

p.s.--anyone who jams, rams, pushes, is a pusher, is a overload dealer with their converter is an amateur. They don't understand digital audio nor do they understand the levels they are dealing with.

Not one single converter is made to offer good sound when the
"owner / operator" (much like an operator of ditch digging equipment) goes so extremely overboard.
I would LOVE to hear the DAD AX32. I emailed back and forth with DAD in January about getting a demo model but nothing ever came of it.
Old 8th August 2014
  #69
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aTelecine-Lex's Avatar
Quote:
Originally Posted by PhilDW View Post
In this situation I'd be looking closely at iZ Radar / ADA 2 converters.
I agree with the above recommendation whole heartedly.

Cheers,
lex
Old 9th August 2014
  #70
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Slug1's Avatar
I've finally gotten to the point where I can laugh at these conversations. I don't care how much testing anyone does, at the end of the day, the only winner is the one each person chooses. SO much subjectivity in these choices. If you go to a house like Sterling Mastering and there are all sorts of different choices for conversion, it just really shows the diversity in these types of things. Something that sounds the best to one person is not necessarily going to always sound the best to someone else. Period. There are so many 'loyalists' to gear its crazy. And I get that someone can test every piece of gear in a category (converters, compressors, eq, monitors, etc) but what sounds good or works for one person isn't always going to be crowned king for everyone. That's just a fact. Especially when the metrics for success are so many subjective terms that are so variable across ears, spaces, program material, use, etc. 3D, open, transparent, colored, neutral, modern, etc etc etc. For converter threads there is a die hard Prism loyalist, a die hard Lynx Hilo loyalist, and a die hard Forsell loyalist, and you can almost guarantee the poor OP that asks about converters one of these three will show up and tout their favorite. They will point to listening tests and technical tests to support their opinions. But neither will ever use the other's suggestion because to them they did their due diligence and came to their conclusion. Same thing with EQ. Over on mastering there is a person who always points to Knif Soma as the best EQ period. Another person argues about their modded Buzz REQ2.2. There's an epic near field monitor thread here in High End and you can just see the loyalists. Its so funny. But I'm okay with it because when you find something that works for you its a good thing. But it shouldn't mean that its the ONLY thing that EVERYONE else should use. Variety is the spice of life!!!

Bottom line. I think these threads can be good to narrow down a few choices to test because its sometimes hard to try every single thing. But there is no way to determine which is the best AD/DA until you get them in your own room, use it (workflow) and listen to it in your environment and on material that you trust to see what works best for you.
Old 9th August 2014
  #71
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bcgood's Avatar
 

I think it would be hard to beat the Antelope Audio Eclipse384 AD/DA Converter. I've heard it and it is pretty amazing. Expensive yes, but you tend to get what you pay for..



Old 9th August 2014
  #72
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shelterr's Avatar
 

Quote:
Originally Posted by bcgood View Post
I think it would be hard to beat the Antelope Audio Eclipse384 AD/DA Converter. I've heard it and it is pretty amazing. Expensive yes, but you tend to get what you pay for..



I did an extensive 11 day demo of the Antelope Eclipse 384 back in November. I ran tons of masters with it and compared it to my Prism ADA-8XR on everything I could. I liked the Eclipse pretty well on some material but ultimately I started to notice that it didn't re-create guitar harmonics very accurately. Things would sound clear and deep overall but hollow and gutless in the mids. Too hifi for my taste and certainly not accurate in the sense that it affected every source in this way.

Here is a link to a simple loopback test I did that I think illustrates this point fairly well, although there were many other tests that led me to this conclusion.

Prism vs Antelope Eclipse 384 loopback test?
Old 9th August 2014
  #73
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bcgood's Avatar
 

I don't think a 16/44 clip is a good way to test converters. You should start with a high quality analog source such as a high end vinyl set up or reel to reel set up, or DSD in the digital domain.
Old 9th August 2014
  #74
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tekis's Avatar
Quote:
Originally Posted by Doc Mixwell View Post

When you dump +30 levels into an AD converter you risk Damaging it's input circuitry.
I don't think this statement is true. It would take a lot more than that to damage a circuit. And I'm not referring to "more level."

Quote:
Originally Posted by PhilDW View Post
In this situation I'd be looking closely at iZ Radar / ADA 2 converters.
Yes!! iZ makes and has made, for longer than most, some of the best A/D's and D/A's around. A close friend of mine just got a pair of the new ADA's, and they are stellar! ADA II is lighter, quieter and functionally better than their (iZ's) first generation. And according to iZ, their latest generation of S-Nyquist conversion surpasses the previous generation. I have only had experience with the Classic and Nyquist conversion but have been a convert for over 15 years. Once I was using RADAR/iZ conversion, I never felt the need for anything else--no outboard clocks either. I can identify a little with "The Shaman." I see the heated debates around here: "..when stacking, the Prism's at 48k are less euphonic than the Aurora's at 96k..." Do any of these people actually make any music?
Old 9th August 2014
  #75
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T_R_S's Avatar
I love my Avid I/O with BLA XB Clock Mod.
Old 9th August 2014
  #76
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shelterr's Avatar
 

Quote:
Originally Posted by bcgood View Post
I don't think a 16/44 clip is a good way to test converters. You should start with a high quality analog source such as a high end vinyl set up or reel to reel set up, or DSD in the digital domain.
It was a 24bit file to start but it wouldn't fit into the GS clip uploader. I understand your point but most people are working in PCM formats and this is how these converters get used by MOST users. And again, I did PLENTY of other tests and there is still valuable information to be gathered from that one.

Did you even listen to it?
Old 9th August 2014
  #77
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bcgood's Avatar
 

Quote:
Originally Posted by shelterr View Post
It was a 24bit file to start but it wouldn't fit into the GS clip uploaded. I understand your point but most people are working in PCM formats and this is how these converters get used for the most part. And again, I did PLENTY of tests and there is still valuable information to be gathered from that one.

Did you even listen to it?
I listened to the original file. I still need to set up my studio as I've moved into a new house.
Old 9th August 2014
  #78
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Quote:
Originally Posted by Plush View Post

p.s.--anyone who jams, rams, pushes, is a pusher, is a overload dealer with their converter is an amateur. They don't understand digital audio nor do they understand the levels they are dealing with.

Not one single converter is made to offer good sound when the
"owner / operator" (much like an operator of ditch digging equipment) goes so extremely overboard.
this has more to do with musical style, depends on what you're looking for. many records that sound pretty good has a lot of clipping on master ad. clipping or l2? tough call. certainly both can benefit a track some.
Old 9th August 2014
  #79
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Quote:
Originally Posted by bcgood View Post
I don't think a 16/44 clip is a good way to test converters. You should start with a high quality analog source such as a high end vinyl set up ...
So one full of distortion then.
Old 9th August 2014
  #80
Here for the gear
You could also consider Rostec

adda16 modular ad-da converter

lma8 microphone and line preamplifier

These units are blowing peoples minds here in Denmark !
Old 9th August 2014
  #81
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bcgood's Avatar
 

Quote:
Originally Posted by David Spearritt View Post
So one full of distortion then.
Hate to break the news to you but digital at 16/44 has distortion too, its just measured differently and misunderstood by many..
Old 9th August 2014
  #82
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Nothing unfair about testing converters at whatever bit depths and sample rates. As long as it's an apples to apples comparison. Of course, the results don't apply to higher rates necessarily.

Still if there is something wrong with the MIDS, I don't think it's very likely that the sample rate is a huge factor. The converter probably just isn't up to standard if that's the case (didn't listen to the clips).
Old 9th August 2014
  #83
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I knew there are mic slutz, mic pre slutz and compressor slutz out there.
The converter slutz seems to be a new species
One which has too much time.
Old 9th August 2014
  #84
Lives for gear
Quote:
Originally Posted by Doc Mixwell View Post
You don't know anything about me, so it is best not to guess.

The Prism sounds like it has cheap-chips that are breaking when its used improperly.

I have even seen someone blow one up, right in front of me.

That Poor, Poor Bastard, he had to send it all the way back to the UK for repair..Ah well, I tried to tell him...

So, I have heard this myself.

You call that pleasing?

Pretty Awful
I do a little work with Prism Sound here in the U.S. I just want to correct the record and say that nobody in the U.S. "has to send it all the back to the U.K.". PMPI is the Prism owned distributor in the U.S. and any units needing repairs are shipped to one of 3 locations in the U.S. - East Coast, West Coast and Ohio. No company is immune to failures but we almost always have replacement units on hand to cover the owner while a unit is shipped for repair.

Frank Ogelthorpe heads up service in the U.S. and goes to pretty extraordinary lengths to be available out of hours to clients.

Cheers,
Ruairi
Old 9th August 2014
  #85
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shelterr's Avatar
 

Quote:
Originally Posted by Ruairi View Post
I do a little work with Prism Sound here in the U.S. I just want to correct the record and say that nobody in the U.S. "has to send it all the back to the U.K.". PMPI is the Prism owned distributor in the U.S. and any units needing repairs are shipped to one of 3 locations in the U.S. - East Coast, West Coast and Ohio. No company is immune to failures but we almost always have replacement units on hand to cover the owner while a unit is shipped for repair.

Frank Ogelthorpe heads up service in the U.S. and goes to pretty extraordinary lengths to be available out of hours to clients.

Cheers,
Ruairi
Frank's customer service is top notch (the guy just picks up the phone, which is nuts!) but I did in fact have to send my DA-2 to HQ in New Jersey and then they had to send it back to the UK for repair. It was my fault (I converted the power from EU to US incorrectly upon receiving it) but I was informed that the AD-2/DA-2 had to be shipped back to the UK. The whole thing took about a month but it was my fault after all! This was about 2 years ago so maybe things have changed?

I'm not sure if that is the case with the ADA-8XR, but I believe Frank said that the Orpheus and newer models are repaired in the US.
Old 9th August 2014
  #86
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Quote:
Originally Posted by shelterr View Post
Frank's customer service is top notch (the guy just picks up the phone, which is nuts!) but I did in fact have to send my DA-2 to HQ in New Jersey and then they had to send it back to the UK for repair. It was my fault (I converted the power from EU to US incorrectly upon receiving it) but I was informed that the AD-2/DA-2 had to be shipped back to the UK. The whole thing took about a month but it was my fault after all! This was about 2 years ago so maybe things have changed?

I'm not sure if that is the case with the ADA-8XR, but I believe Frank said that the Orpheus and newer models are repaired in the US.
Glad Frank took care of you. Yes most repairs are done in the U.K. but my point was that a U.S. customer doesn't have to deal with international shipping/customs etc, they just need to get the unit back to PMPI in the U.S. and everything else is taken care of. Adam's post made it appear as though a Prism owner in the U.S. was stranded and left to deal with international shipping etc which isn't the case at all.

Faults are rare in my experience and loaners are almost always provided to cover the owner while the unit is out for the fastest possible repair.
Old 9th August 2014
  #87
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shelterr's Avatar
 

Quote:
Originally Posted by Ruairi View Post
Glad Frank took care of you. Yes most repairs are done in the U.K. but my point was that a U.S. customer doesn't have to deal with international shipping/customs etc, they just need to get the unit back to PMPI in the U.S. and everything else is taken care of. Adam's post made it appear as though a Prism owner in the U.S. was stranded and left to deal with international shipping etc which isn't the case at all.

Faults are rare in my experience and loaners are almost always provided to cover the owner while the unit is out for the fastest possible repair.
It was nice not having to deal with international shipping (Prism covered those shipping charges) and just having to send it to NJ was easy. Frank and Janice handled everything like professionals and I was very pleased with the service I received.

I can't imagine there are many needs for Prism repairs. Mine is the backbone of my studio and I run it non-stop. The last thing I EVER worry about breaking is my Prism.
Old 9th August 2014
  #88
Gear Head
 

Prism Has the best customer service I ever experienced.
They stand behind there product. Frank is the best!
Prism is at the top for choice of converters.
Old 10th August 2014
  #89
Here for the gear
 

Hello,
Money is of no concern to me but to the shopkeepers it is. It costs them money to get the sample pieces for even a day to audition. That's the reason they it will never be possible for me to convince a dealer to get all these mighty pieces of equipment in one place for me. I've tried and failed. I've even given them the option of me paying for their expenses to get the equipment but they don't agree saying they have to show payment details later to higher authorities so that cost has to be bared by them only. Then they end the conversation saying that no one in the industry here has ever wanted such high end equipment at one time to audition so why do I need it? Plus they act unsure whether I'll end up buying something or not! (Lack of trust maybe). I wish my country was like the states or any other places where things weren't that hard. And that... Gentlemen is the I ask y'all to help me make a decision.
Old 10th August 2014
  #90
Gear Maniac
 

Depends on what you need.

For only two channels go for the WEISS.

For more get a DAD AX32. With this you have nearly every sample rate available to you. So you can cater to all your customer needs.
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