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Evaluating AD/DA loops by means of Audio Diffmaker
Old 6th March 2018
  #1531
Gear Nut
 
1 Review written
🎧 5 years
I just tried out my ferrofish DA outs direct to my monitors for the first time after looking at these results. I have been using it clocked to the UFX...Let me just say that my finding correlate with the results here. The difference is quite significant, everything just sounds clearer and stereo image is more accurate too.

Also i just can't believe the MOTU 828mkII test results... Was about to pull the trigger on a the new RME UFX+ interface, but i changed my mind after seeing this thread. Can't believe it outperforms the Lynx Aurora's converter's... Now i'm stumped on what to buy, as i need a Ad da upgrade but don't want to plonk down 3k on new converters. Has anyone compared the Motu and the Aurora? Do the numbers tell the whole truth? So intrigued.
Old 6th March 2018 | Show parent
  #1532
Lives for gear
 
stinkyfingers's Avatar
 
🎧 10 years
The biggest/only factor for this test is frequency/phase response.
Nothing else is taken into consideration because it is below the level difference created by phase distortion.
If you match the frequency/phase response of one of the converters with an EQ, you will get the exact same diff results...

Last edited by stinkyfingers; 6th March 2018 at 10:54 AM..
Old 12th March 2018 | Show parent
  #1533
Gear Head
 
kegn51's Avatar
 
🎧 5 years
I suspect that most of this frequency deviation comes from the DAC
(the CD-player brickwall filter)
and that the AD converter is rather immaculate even in the very cheap interfaces.

/Göran
Old 12th March 2018 | Show parent
  #1534
Gear Guru
 
UnderTow's Avatar
 
🎧 15 years
Quote:
Originally Posted by kegn51 ➡️
I suspect that most of this frequency deviation comes from the DAC
(the CD-player brickwall filter)
and that the AD converter is rather immaculate even in the very cheap interfaces.

/Göran
Frequency response deviations should be corrected by the software. The same applies to volume mismatches, sample speed mismatches and other things but as the manual explains, it is hard to correct all of them accurately at the same time (there are compromises) and when testing converters like this (not the intended purpose of the software) all these issues come up so the tests are not really reliable.

And to put things into context, a 0.05 dB volume mismatch between two otherwise identical files will only give a correlation depth of -45 dB FS. A rate mismatch of 1 usec per 10 seconds would only give a correlation depth of -35 dB FS. Those number don't look too good but the differences are inaudible.

This whole exercise is IMO pointless and meaningless. Don't let these results affect your choice of audio interface!

Alistair
Old 12th March 2018
  #1535
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Gain and time delay corrections are performed accurately enough for achieving difference level lower than -110 dBFS, that is more than 30 dB lower than the best performance reported here: this has already been demonstrated and can be checked easily by everybody. Hence the test results are not limited by the accuracy of the measurement.

List of results

Last edited by didier.brest; 12th March 2018 at 11:24 PM..
Old 13th March 2018 | Show parent
  #1536
Gear Guru
 
UnderTow's Avatar
 
🎧 15 years
Quote:
Originally Posted by didier.brest ➡️
Gain and time delay corrections are performed accurately enough for achieving difference level lower than -110 dBFS, that is more than 30 dB lower than the best performance reported here: this has already been demonstrated and can be checked easily by everybody. Hence the test results are not limited by the accuracy of the measurement.
As I wrote, the makers of the software explain that the algorithms can not accurately compensate for all things at the same time. Especially once you combine EQ corrections and time corrections. Your experiment does not cover this.

A little knowledge...

Alistair
Old 13th March 2018 | Show parent
  #1537
Lives for gear
 
stinkyfingers's Avatar
 
🎧 10 years
Quote:
Originally Posted by kegn51 ➡️
I suspect that most of this frequency deviation comes from the DAC
(the CD-player brickwall filter)
and that the AD converter is rather immaculate even in the very cheap interfaces.

/Göran
the biggest difference here comes from the HPF(s) in the AD & DA...
Old 13th March 2018 | Show parent
  #1538
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by UnderTow ➡️
As I wrote, the makers of the software explain that the algorithms can not accurately compensate for all things at the same time. Especially once you combine EQ corrections and time corrections. Your experiment does not cover this.
No EQ correction shall be done. Taking into account frequency response deviation with respect to ideal flat frequency response in the measurement of the difference between the copy and the original is mandatory when dealing with conversion transparency. Hence Audio DiffMaker EQ option is not activated. Only gains and delay are compensated for in using ADM or Matlab.

List of results
Old 13th March 2018 | Show parent
  #1539
Gear Guru
 
UnderTow's Avatar
 
🎧 15 years
Quote:
Originally Posted by didier.brest ➡️
No EQ correction shall be done. Taking into account frequency response deviation with respect to ideal flat frequency response in the measurement of the difference between the copy and the original is mandatory when dealing with conversion transparency. Hence Audio DiffMaker EQ option is not activated.
How do you take frequency response deviation into account without EQing? If you are not correcting for frequency response deviations, the test is even less meaningful.

I just did a test by doing a 0.3 dB frequency tilt in one version of a file I compare with itself. The resulting correlation depth is only 35.9 dB but the tiny frequency tilt wouldn't be an issue in real world use.

Also, you are blindly copying the results other people post into your list. You don't know if they changed any of the settings in the software.

Like I said in my previous post: A little knowledge is a dangerous thing.

Alistair
Old 13th March 2018 | Show parent
  #1540
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by UnderTow ➡️
If you are not correcting for frequency response deviations, the test is even less meaningful.
I confirm that frequency response deviation of DA-AD conversion is not compensated for. Hence it impacts the measurement result.

Quote:
Originally Posted by UnderTow ➡️
Also, you are blindly copying the results other people post into your list.
Never. I measured myself every figure in the List of results by means of ADM or Matlab.


Quote:
Originally Posted by UnderTow ➡️
Like I said in my previous post: A little knowledge is a dangerous thing.
Have you got a bigger one ?
Old 13th March 2018
  #1541
Lives for gear
 
Lumbergh's Avatar
 
🎧 5 years
FWIW I like this test, it does what it says on the tin

(It takes an awfully long time to read the label though if you really want to get your head around it)
Old 15th March 2018 | Show parent
  #1542
Gear Head
 
kegn51's Avatar
 
🎧 5 years
The boring truth is that

all DACs
all AD converters and
all mic preamps

sound the same in double blind tests.

/Göran
Old 17th March 2018 | Show parent
  #1543
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by UnderTow ➡️
Frequency response deviations should be corrected by the software. The same applies to volume mismatches, sample speed mismatches and other things but as the manual explains, it is hard to correct all of them accurately at the same time (there are compromises) and when testing converters like this (not the intended purpose of the software) all these issues come up so the tests are not really reliable.

And to put things into context, a 0.05 dB volume mismatch between two otherwise identical files will only give a correlation depth of -45 dB FS. A rate mismatch of 1 usec per 10 seconds would only give a correlation depth of -35 dB FS. Those number don't look too good but the differences are inaudible.

This whole exercise is IMO pointless and meaningless. Don't let these results affect your choice of audio interface!

Alistair
Indeed, it's a rather stupid way of measuring converter quality. Ears don't really care about "null depth". Some things that null have a major impact while others that don't null don't do anything.

A much more accurate picture can be had from: RightMark Audio Analyzer. Products. Audio Rightmark

Which is designed for the purpose.

But it's his thread, he can do whatever he wants.
Old 17th March 2018 | Show parent
  #1544
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Oden ➡️
Some things that null have a major impact while others that don't null don't do anything.
Please re-read what you wrote here. By definition (as well as basic math and physics) things that "null" are identical. There is no difference to hear because there is no difference in the data.

On the flipside there may of course be differences that are perfectly inaudible. And there is a "dose response curve" attributable to differences - they might be inaudible up to a certain degree.

The problem with difference tests is their overvaluation (relative to psychoacoustics) of phase shift. Also, what makes a converter preferable to another may quite possibly be hidden below - 80db and thus not register here.

I've made changes to the input circuit of my converter that were quite significant from a subjective standpoint, put they didn't affect the ca. -80dB difference value Diffmaker gives for my signal path.

Still, it is a usefull test. Filters in modern converters tend to favour a flat frequency response while sacificing impulse response. That's something the test may reveal, and it is very audible, too.
Old 17th March 2018 | Show parent
  #1545
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by living sounds ➡️
Please re-read what you wrote here. By definition (as well as basic math and physics) things that "null" are identical. There is no difference to hear because there is no difference in the data.

On the flipside there may of course be differences that are perfectly inaudible. And there is a "dose response curve" attributable to differences - they might be inaudible up to a certain degree.

The problem with difference tests is their overvaluation (relative to psychoacoustics) of phase shift. Also, what makes a converter preferable to another may quite possibly be hidden below - 80db and thus not register here.

I've made changes to the input circuit of my converter that were quite significant from a subjective standpoint, put they didn't affect the ca. -80dB difference value Diffmaker gives for my signal path.

Still, it is a usefull test. Filters in modern converters tend to favour a flat frequency response while sacificing impulse response. That's something the test may reveal, and it is very audible, too.
Of course, I didn't mean a perfect null...

For minimum phase systems the frequency response is directly related to the impulse response. Are you sure that by impulse response you don't mean a timing artifact?
Old 17th March 2018 | Show parent
  #1546
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Oden ➡️

For minimum phase systems the frequency response is directly related to the impulse response. Are you sure that by impulse response you don't mean a timing artifact?
Yes, what I'm talking about is time domain behaviour. Pre- and post-ringing. Good time domain behaviour with a steep filter in real time is very hard to do (takes massive processing power and/or is impossible to do with acceptable delay because a large sample window may be required).

Older converters tended to sacrifice top end response for better time domain response. That's why my Swissonic converters measure so well, they are DC coupled (no high pass filter) and they use a smooth high end filter. With normal audio at the top end the amplitude is very low anyway.

I've measure converters that sounded weird, and they show a weird phase response curve, some of them with deviatians from linear at certain frequencies of the midrange. Again, phase problems are easily audible and they register in Diffmaker.
Old 17th March 2018 | Show parent
  #1547
Lives for gear
 
funka's Avatar
 
🎧 15 years
For those who doubt about ADM results, did you only listened to original track versus others, level matched with ADM delay gains?
Old 18th March 2018 | Show parent
  #1548
Gear Addict
 
🎧 5 years
Here is an RME_ADI-2_Pro, balanced out to balanced in.
Old 18th March 2018 | Show parent
  #1549
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by LesC ➡️
Here is an RME_ADI-2_Pro, balanced out to balanced in.
ADM: -1sec, 0,366dB (L), 0,357dB (R)..Corr Depth: 33,7 dB (L), 35,3 dB (R) Difference: -43.3 dBFS (L), -44.6 dBFS (R)
Matlab: -1.00012515 s, 0.3525 dB (L), 0.3503 dB (R) Difference: -44.5 dBFS (L), -45.5 dBFS (R)

To be added to the next issue of the List of results.
Old 18th March 2018 | Show parent
  #1550
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
List of results updated with new tests of Universal Audio Apollo Twin MkII by EvgenyStudio and test of RME ADI-2 Pro by LesC


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)

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)

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 (outputs 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, outputs 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). Outputs 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 to Ret. 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, ID22 Output 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). ID22 Output 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)
MOTU Track16

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)
Orion Studio 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)
Orion Studio 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)
Orion Studio 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: -48,9 dBFS (L), -49,2 dBFS (R)
ben: Corr Depth: 29,1 dB (L), 30,8 dB (R) Difference: -48,7 dBFS (L), -49,7 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)

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)

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 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)

E-MU 1616M
(vechung): 9.7 dB (L), 9.6 dB (R)..Corr Depth: 26,3 dB (L), 28,4 dB (R) Difference*: -45.5 dBFS (L), -46.5 dBFS (R)
left channel only (ben): -0.4 dB (L), Corr Depth: 28,9 dB (L) Difference: -47.7 dBFS (L)

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

Focusrite Saffire PRO 40 (MusicManic)
-0.566 dB (L), 0.293 dB (R) Corr Depth: 27,8 dB (L), 32,0 dB (R) Difference*: -45.3 dBFS (L), -44.6dBFS (R)

Mackie Onyx Blackjack (kegn51)
2,9 dB (L), 2,9 dB (R) Corr Depth: 30,5 dB (L), 32,3 dB (R) Difference*: -45.1 dB (L), -44.5 dB (R)

M-Audio FireWire 410 (JonasNorberg)
0.2dB (L) 0.2dB (R)..Corr Depth: 24,5 dB (L), 26,2 dB (R) Difference*: -44.9 dBFS (L), -46.4 dBFS (R)

M-Audio Profire 2626 (cylens)
-0.5 dB (L), -0.5 dB (R)..Corr Depth: 24,4 dB (L), 25,9 dB (R) Difference*: -44.8 dBFS (L), -46.1 dBFS (R)

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

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

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)

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): 15,547dB (L), 15,601dB (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)

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)

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)

Tascam US-144MKII (capn357)
0,2 dB (L), 0,4 dB (R)..Corr Depth: 18,6 dB (L), 20,2 dB (R) Difference*: -39.0 dBFS (L), -40.4 dBFS (R)

RME Fireface UFX (didier.brest)
XLR outputs 1-2 to TRS inputs 3-4: 0.8 dB (L), 0.7 dB (R) Corr Depth: 18,5 dB (L), 20,1 dB (R) Difference*: -39.0 dBFS (L), -40.3 dBFS (R)
TRS outputs 5-6 to TRS inputs 3-4: 0,7 dB (L), 0,7 dB (R) Corr Depth: 18,4 dB (L), 20,1 dB (R) Difference*: -38,8 dBFS (L), -40,3 dBFS (R)
outputs 1-2 to XLR preamp inputs 9-10: 0,5 dB (L), 0,4 dB (R) Corr Depth: 14,7 dB (L), 16,2 dB (R) Difference: -35,0 dBFS (L) -36,3 dBFS (R)

Focusrite Saffire Pro 24 DSP (CoolColJ), first 45s part disregarded
5,2 dB (L), 5,2 dB (R) Corr Depth: 20,2 dB (L), 22,0 dB (R) Difference: -38,9 dBFS (L), -39,9 dBFS (R)

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

Focusrite Forte (Coucou)
9,9 dB (L), 9,9 dB (R) Corr Depth: 18,3 dB (L), 19,8 dB (R) Difference: -38,3 dBFS (L), -39,4 dBFS (R)

Focusrite Liquid Saffire 56, Line output to microphone input + pad (Melodeath)
0,2 dB (L), 0,2 dB (R) Corr Depth: 17,9 dB (L), 19,3 dB (R) Difference: -37,9 dBFS (L) -38,9 dBFS (R)

Digidesign 003 Rack
dheming: 0,4 dB (L), 0,5 dB (R) Corr Depth: 18,6 dB (L), 20,0 dB (R) Difference: -38.3 dBFS (L), -39.1 dBFS (R).
Shptq: 0.5 dB (L), 0,5 dB (R) Corr Depth: 18,4 dB (L), 20,2 dB (R) Difference*: -38.5 dBFS (L), -39.8 dBFS (R)

Echo AudioFire 2 (dheming)
0.6 dB (L), 0.2 dB (R) Corr Depth: 20,8 dB (L), 21,9 dB (R) Difference*: -37.8 dBFS (L), -37.9 dBFS (R)

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

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)

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)

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)

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)

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)

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; 27th March 2018 at 09:02 PM.. Reason: New RME ADI-2 Pro tests
Old 19th March 2018 | Show parent
  #1551
Gear Addict
 
🎧 5 years
Quote:
Originally Posted by didier.brest ➡️
ADM: -1sec, 0,366dB (L), 0,357dB (R)..Corr Depth: 33,7 dB (L), 35,3 dB (R) Difference: -43.3 dBFS (L), -44.6 dBFS (R)
Matlab: -1.00012515 s, 0.3525 dB (L), 0.3503 dB (R) Difference: -44.5 dBFS (L), -45.5 dBFS (R)

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

@ didier.brest , thank you for what you're doing here!

I have a question, I'm sorry if this has been covered before but I can't find it. I would like to understand how "Difference" correlates with "Corr Depth".

In reading down the list of converters, as the absolute values of "Difference" go down, the values of "Corr Depth" also go down. Then we hit the Apogee Symphony, and the "Corr Depth" goes way up, and then starts decreasing again.

However, the RME ADI-2 Pro seems to be a real outlier. In terms of "Corr Depth", it seems to be much higher than many of the converters above it.

So "Corr Depth" must be indicating something very different than "Difference". Is there an explanation that a non-expert could understand?
Old 19th March 2018
  #1552
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
I have noticed like you these seldom cases where Corr. deth is not coherent with the RMS level of the difference. I don't know any more detail about Audio DiffMaker other than what is available on the net. Corr. depth would mean Correlated null depth. I guess that it would be only a component of the null, which would have also an uncorrelated component. I have based the ranking on the level of the difference because I am sure about what it is and I can compute it myself, even more accurately than ADM. Difference is also called null for this kind of test because for a perfect copy of the original the difference would be null.
Old 20th March 2018 | Show parent
  #1553
Gear Addict
 
🎧 5 years
Quote:
Originally Posted by didier.brest ➡️
I have noticed like you these seldom cases where Corr. deth is not coherent with the RMS level of the difference. I don't know any more detail about Audio DiffMaker other than what is available on the net. Corr. depth would mean Correlated null depth. I guess that it would be only a component of the null, which would have also an uncorrelated component. I have based the ranking on the level of the difference because I am sure about what it is and I can compute it myself, even more accurately than ADM. Difference is also called null for this kind of test because for a perfect copy of the original the difference would be null.
I just got the RME ADI-2 Pro, and I forgot that it has 4 types of digital input filters and 5 types of digital output filters. These have slighly differing frequency and impulse responses. I recently sold my Unity Audio Rock II's and my new monitors haven't arrived, so I'm not currently in a position to evaluate the different sounds of these filters. But I can easily see differences in the waveforms of the recorded files when I open them in Cubase's editor.

I don't know if you want to spend any more time on this converter, but here are the 20 corresponding DiffMaker files:

SD_Sharp_In_NOS_Out

SD_Sharp_In_SD_Sharp_Out

SD_Sharp_In_SD_Slow_Out

SD_Sharp_In_Sharp_Out

SD_Sharp_In_Slow_Out

SD_Slow_In_NOS_Out

SD_Slow_In_SD_Sharp_Out

SD_Slow_In_SD_Slow_Out

SD_Slow_In_Sharp_Out

SD_Slow_In_Slow_Out

Sharp_In_NOS_Out

Sharp_In_SD_Sharp_Out

Sharp_In_SD_Slow_Out

Sharp_In_Sharp_Out

Sharp_In_Slow_Out

Slow_In_NOS_Out

Slow_In_SD_Sharp_Out

Slow_In_SD_Slow_Out

Slow_In_Sharp_Out

Slow_In_Slow_Out

Last edited by LesC; 21st March 2018 at 05:51 PM..
Old 20th March 2018
  #1554
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
I listened only to the first file but all have the same name type xxxxxxx-Original2.wav, which says that these files are difference files. My test performs on the loopback files xxxxxxx.wav that these difference files derivate from.
Old 21st March 2018 | Show parent
  #1555
Gear Addict
 
🎧 5 years
Quote:
Originally Posted by didier.brest ➡️
I listened only to the first file but all have the same name type xxxxxxx-Original2.wav, which says that these files are difference files. My test performs on the loopback files xxxxxxx.wav that these difference files derivate from.
Oops, sorry about that, I'll fix the links tomorrow.
Old 21st March 2018 | Show parent
  #1556
Gear Addict
 
🎧 5 years
Quote:
Originally Posted by didier.brest ➡️
I listened only to the first file but all have the same name type xxxxxxx-Original2.wav, which says that these files are difference files. My test performs on the loopback files xxxxxxx.wav that these difference files derivate from.
Again, sorry about that. I've uploaded the correct files and changed the 20 links in my original post.
Old 21st March 2018 | Show parent
  #1557
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by LesC ➡️
ADM: -1sec, 0,351dB (L), 0,344dB (R)..Corr Depth: 33,6 dB (L), 35,2 dB (R) Difference: -52.4 dBFS (L), -53.5 dBFS (R)
Matlab: -1.000186182 s 0.3521 dB (L), 0.3453 dB (R) Difference: -52.8 dBFS (L), -54.3 dBFS (R)

Last edited by didier.brest; 24th March 2018 at 07:20 PM.. Reason: corrrecting the Matlab delay value
Old 21st March 2018 | Show parent
  #1558
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didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by LesC ➡️
ADM: -1sec, 0,366dB (L), 0,357dB (R)..Corr Depth: 33,6 dB (L), 35,3 dB (R) Difference: -43.2 dBFS (L), -44.6 dBFS (R)
Matlab: -1.000125149 s, 0.3521 dB (L), 0.3504 dB (R) Difference: -44.5 dBFS (L), -45.5 dBFS (R)
Old 21st March 2018
  #1559
Lives for gear
 
Lumbergh's Avatar
 
🎧 5 years
^ there ya go, great use of this test. That is a significant difference between filters on the same hardware with (hopefully ...) a very similar environment.
Old 21st March 2018 | Show parent
  #1560
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by LesC ➡️
ADM: -1sec, 0,355dB (L), 0,347dB (R)..Corr Depth: 33,6 dB (L), 35,2 dB (R) Difference: -51.7 dBFS (L), -52.7 dBFS (R)
Matlab: -1.000055883 s 0.3591 dB (L), 0.3522 dB (R) Difference: -52.1 dBFS (L), -53.4 dBFS (R)
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