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Evaluating AD/DA loops by means of Audio Diffmaker
Old 11th September 2022
  #2611
Gear Head
 
🎧 10 years
Eventide H8000FW - analog 1/2 out -> 1/2 in via routing using Fireware i/o

https://drive.google.com/file/d/1dXX...ew?usp=sharing

Double checked disconnecting ins that the signal comes in analog domain.

In addition, one more recording - from Lynx Aurora (n) - analog 3/4 out to 3/4 in

https://drive.google.com/file/d/1u1f...ew?usp=sharing

Last edited by euggie2000; 11th September 2022 at 04:12 PM..
Old 11th September 2022 | Show parent
  #2612
Gear Head
 
Antelope Galaxy64.

Analog out 1/2 to analog in 1/2
Monitor out L/R to analog in 1/2

All trims set to 22db, monitor level set to 0db. Internal clock.

Two files at this link, names should be clear which is which: https://we.tl/t-3377rJyKed
Old 12th September 2022 | Show parent
  #2613
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by euggie2000 ➡️
Eventide H8000FW - analog 1/2 out -> 1/2 in
There is an one sample L vs. R shift like in the test from jeamsler (list of the results). But the measurement result is much different:
-2.245201 ms, -0.3719 dB (L), -0.3478 dB (L), -45.1124 dBFS (L), -45.9663 dBFS (R).

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

Last edited by didier.brest; 12th September 2022 at 07:09 PM..
Old 12th September 2022 | Show parent
  #2614
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by euggie2000 ➡️
one more recording - from Lynx Aurora (n) - analog 3/4 out to 3/4 in
21.994 µs, 0.0053 dB (L), 0.0024 d (R), -58.9329 dBFS (L), -59.0429 dBFS (L)

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

Last edited by didier.brest; 13th September 2022 at 11:07 PM..
Old 13th September 2022 | Show parent
  #2615
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by demarcus_b ➡️
Antelope Galaxy64.
Analog out 1/2 to analog in 1/2
-23.941579 ms, 0.1807 dB (L), 0.1921 dB (R), -44.1543 dBFS (L), -45.1957 dBFS (R)

Quote:
Originally Posted by demarcus_b ➡️
Monitor out L/R to analog in 1/2
-23.982383 ms, -0.0821 dB (L), -0.0091 dB (R), -42.8521 dBFS (L), -42.8521 dBFS (R)
L and R difference levels being equal indicate that there is likely a time shift between L and R channels, large enough so that minimizing the largest level of the difference between the original and the copy, the loopback delay of which is compensated by means of the same time shift for both channels (a survival from Audio DiffMaker), can be achieved only by a trade-off between compensating the L and R delays, which results in equal L and R difference levels. But unlike in previous tests where the L vs. R shift was equal to one sample, which reveals a pure digital issue easily compensated for before joint measurement of both channels, here separate measurement of L and R channels results in a L vs. R shift slightly lower than half a sample, which is weird.
L channel: -23.986860 ms, -0.0789 dB, -44.1515 dBFS
R channel: -23.977158 ms, -0.0047 dB, -45.3444 dBFS

Last edited by didier.brest; 14th September 2022 at 02:18 PM..
Old 14th September 2022 | Show parent
  #2616
Gear Head
 
Thanks. Interesting result. The time shift may have something to do with the way i recorded it using Max MSP, where i had a soundfile playing straight into the dac output, and then the adc input straight into a soundfile recorder. It is odd though, you wouldn't think that such a large shift would result.

I'll try a different method, maybe just using something basic like Garageband as there isn't any other audio software installed on the computer running the interface, which i don't own, so i'm not able to install more programs on there.
Old 14th September 2022 | Show parent
  #2617
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
There is no issue about the time shift between the original and the loopback copy. It may be quite large, up to 1 s in some tests reported in the list of the results. The issue here is about the time shift between the L and R channels of the copy in your second test (monitor out). An one sample shift has been encountered in a few previous tests, equivalent to 23 µs time shift, which results likely from a digital streaming defect. In your case it is 10 µs. Since your first test is OK (analog out 1/2) and one may exclude the reason that there would be different digital filters on L and R monitor channels, I don't figure out how it is possible otherwise than the analog part of the monitor out of your unit would be defective. Anyway I will not report your second test in the list of the results because the measurement by means of the method used for all previous tests (same compensating time shift for both channels) would give the wrong idea that the monitor output of this Antelope model is not as good like the 1/2 output.

Last edited by didier.brest; 14th September 2022 at 02:20 PM..
Old 14th September 2022 | Show parent
  #2618
Gear Head
 
I see. Very odd.

I ran the test again anyway, this time recording in Garageband, so if you want to check it out, here's the link:

https://we.tl/t-l53YMsXw87

Settings and channels used are the same as the first test.
Old 14th September 2022 | Show parent
  #2619
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by demarcus_b ➡️
this time recording in Garageband
Analog out 1/2 to analog in 1/2
-449.516 µs, 0.1824 dB (L), 0.1936 dB (R), -44.1543 dBFS (L), -45.1958 dBFS (R)

Monitor out L/R to analog in 1/2
-491.963 µs, -0.0781 dB (L), -0.0036 dB (R), -44.1516 dBFS (L), -45.0330 dBFS (R)

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

Last edited by didier.brest; 17th September 2022 at 05:38 AM..
Old 14th September 2022 | Show parent
  #2620
Gear Head
 
Thanks. That timing issue must have been a quirk of Max MSP.

TBH though i'm not that impressed with the results for a box which costs €9000 or whatever it is...

It's just so-so, nothing special, nothing bad. Doesn't even beat some of their much older interfaces.
Old 14th September 2022 | Show parent
  #2621
Gear Maniac
 
4 Reviews written
🎧 5 years
Has no one tested the Metric Halo 2882 yet after all these years???

This might be my opportunity to contribute.....
Old 14th September 2022 | Show parent
  #2622
Gear Head
 
Please do. Mine is broken. Nobody done a ULN-2 either? Maybe that's the next i will test out.
Old 16th September 2022 | Show parent
  #2623
Gear Head
 
Behringer U-Control UCA202:

Analog out 1-2 to analog in 1-2, input monitor off -
https://we.tl/t-ig5pCJmGGt


Old 17th September 2022 | Show parent
  #2624
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by demarcus_b ➡️
Behringer U-Control UCA202
-78.542267 ms, 0.1871 dB (L), 0.4726 dB (R), -38.5846 dBFS (L), -40.0329 dBFS (R)

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

Loopback tests requested by forum members: Eventide H8000FW and Eventide H9000R (for confirming the ones at the top of the list of the results), Pacific Microsonics Model One and Model Two, Slate Digital VRS-8, SSL 2+, RME M-32 AD Pro --> M-32 DA Pro, RME M-1610 Pro, Audient iD14 MKII, Prism Dream DA-2 --> AD-2, BlackLion Audio Revolution 2×2, RME MADIface Pro, RME Fireface UCX II, SSL BiG SiX, Prism Sound Dream ADA-128, anything from Qes Lab, JCF, Burl and Linn, PreSonus Quantum 2626, PreSonus Studio 192. Of course any other one welcome!
Old 3rd October 2022
  #2625
Lives for gear
Recommend\Request for users to test

1. Ultralite MK5 as a DAC into a very high performance ADC if any on hand.
2. Very high performance DAC into Antelope Pure2
3. Very high performance DAC into Audient ID22

All of these have high spec chips on one side and either an absent or low spec chip on the other. Ultralite MK5 has a high spec DAC chip, but mediocre ADC. Pure 2 has a mastering grade ADC but I suspect it's been fed by older low spec DACs. The ID22 loopbacks are being done with the lower spec DAC chip on the DAC side. It's ADC chip is very high spec.
Old 3rd October 2022 | Show parent
  #2626
Lives for gear
Quote:
Originally Posted by Nickerz ➡️
Recommend\Request for users to test

1. Ultralite MK5 as a DAC into a very high performance ADC if any on hand.
2. Very high performance DAC into Antelope Pure2
3. Very high performance DAC into Audient ID22

All of these have high spec chips on one side and either an absent or low spec chip on the other. Ultralite MK5 has a high spec DAC chip, but mediocre ADC. Pure 2 has a mastering grade ADC but I suspect it's been fed by older low spec DACs. The ID22 loopbacks are being done with the lower spec DAC chip on the DAC side. It's ADC chip is very high spec.
NM on the ID22, I see someone did the Swissonic which was good enough to bring the EVM up to mastering grade but didn't do much in the way of getting the Audient to perform at that level. So I guess a classic case of "chipset isn't everything." Though I still suspect the Antelope Pure2 is capable.
Old 4th October 2022 | Show parent
  #2627
Gear Head
 
🎧 10 years
Quote:
Originally Posted by Nickerz ➡️
NM on the ID22, I see someone did the Swissonic which was good enough to bring the EVM up to mastering grade but didn't do much in the way of getting the Audient to perform at that level. So I guess a classic case of "chipset isn't everything." Though I still suspect the Antelope Pure2 is capable.
Well I guess the main reason for the difference in results between PCM4222EVM and PCM4220 in id22 is the fact that you can disable digital filters on the EVM board
There're OPA1632 vs NJM8080 opamps before ADC but that shoudn't matter that much
Old 10th October 2022 | Show parent
  #2628
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
List of the results updated from tests of RME Babyface Pro FS by innovo, Universal Audio Apollo Twin USB Duo by Lord_R, stock and modded RME ADI-2 Pro FS R Black Edition by JoshuaK, Avid Pro Tools Carbon and MTRX Studio by mfic, Merging Anubis, Eventide H800FW and Lynx Aurora(n) by euggie2000, Antelope Galaxy 64 Synergy Core and Behringer U-Control UCA202 by demarcus_b.
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. RMS level measurement is done after removal of the first and last 1000 samples and the DC offset.

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

AD-DA converters driven by their internal clock


Eventide H8000FW, 1 sample L vs. R shift compensated for,
jeamsler, validity of this test?: 6.0 dB (L), 6.0 dB (R), -88.8 dBFS (L), -88.8 dBFS (R)
euggie200: -0.4 dB (L), -0.3 dB (L), -45.1 dBFS (L), -46.0 dBFS (R)

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

RME ADI-2 Pro FS R, input DC coupling caps bypassed
DA/AD filters Sharp, DC filter None, (KSTR): 0.4 dB (L), 0.4 dB (R), -72.3 dBFS (L), -71.1 dBFS (R)
DA/AD filters Sharp, DC filter None, (JoshuaK): 4.2 dB (L), 4.2 dB (R), -72.3 dBFS (L), -71.1 dBFS (R)
DA/AD filters SD Sharp, DC filter None, (JoshuaK): 4.2 dB (L), 4.2 dB (R), -37.8 dBFS (L), -39.0 dBFS (R)

RME ADI-2 Pro
DA/AD filter Sharp (LesC): 0.4 dB (L), 0.4 dB (R), -53.9 dBFS (L), -55.2 dBFS (R)
DA/AD filter Slow (LesC): 0.4 dB (L), 0.3 dB (R), -52.8 dBFS (L), -54.3 dBFS (R)
DA/AD filter SD Sharp (LesC): 0.4 dB (L), 0.4 dB (R), -44.5 dBFS (L), -45.5 dBFS (R)
DA/AD filter SD Slow (LesC): 0.3 dB (L), 0.3 dB (R) -47.9 dBFS (L), -48.9 dBFS (R)
Pro FS, unspecified setting (Archimago): 0.2 dB (L), 0.2 dB (R), -44.3 dBFS (L), -45.4 dBFS (R)
DA/AD filter SD Sharp (jrasia): -0.0 dB (L), 0.0 dB (R), -44.4 dBFS (L), -45.5 dBFS (R)
DA/AD filter Sharp, DC filter None (pkane): 0.1 dB (L), 0.1 dB (R), -63.7 dBFS (L), -64.2 dBFS (R)
DA/AD filter Sharp, DC filter Auto (pkane): 0.1 dB (L), 0.1 dB (R), -53.7 dBFS (L), -54.8 dBFS (R)
Pro FS R, DA/AD filter Sharp (manisandher): 0.2 dB (L), 0.2 dB (R), -53.6 dBFS (L), -54.8 dBFS (R)
Pro FS, DA/AD filter Sharp (thomasjacquot): 0.1 dB (L), 0.1 dB (R), -53.7 dBFS (L), -54.9 dBFS (R)
Pro FS, DA/AD filter Slow (thomasjacquot): 0.1 dB (L), 0.1 dB (R), -52.9 dBFS (L), -54.2 dBFS (R)
Pro FS, DA/AD filter SD Sharp (thomasjacquot): 0.0 - 0.1 dB (L), 0.0 - 0.1 dB (R), -44.4 dBFS (L), -45.5 dBFS (R)
Pro FS, DA/AD filter SD Slow (thomasjacquot): 0.0 - 0.1 dB (L), 0.0 - 0.1 dB (R), -47.8 dBFS (L), -48.8 dBFS (R)
Pro FS, SD SHARP filter IN & NOS filter OUT 24dbu (thomasjacquot): 0.1 dB (L), 0.1 dB (R), -49.4 dBFS (L), -50.3 dBFS (R)
Pro FS, SD SHARP filter IN & NOS filter OUT 4dbu (thomasjacquot): 0.0 dB (L), 0.0 dB (R), -45.6 dBFS (L), -46.1 dBFS (R)
Pro FS R Black Edition, DA/AD filter SD Sharp, DC filter None (JoshuaK): 1.0 dB (L), 1.6 dB (R), -39.2 dBFS (L), -38.0 dBFS (R)

Avid Pro Tools MTRX Studio (mflic)
18 dBu or 24 dBu: 0.9 dB (L), 1.0 dB (R), -60.3 dBFS (L), -61.4 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)
drlex: 3.1 dB (L), 3.1 dB (R), -59.1 dBFS (L), -59.1 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)
euggie2000, analog 3/4 out to 3/4 in: 0.0 dB (L), 0.0 d (R), -58.9 dBFS (L), -59.0 dBFS (L)

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)
leolycra: 0.0 dB (L), 0.0 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)

Apogee Symphony I/O Mk II 16×16 (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) / out +3 dB: 0.4 dB (L), 0.5 dB (R), -56.8 dBFS (L), -58.2 dBFS (R)
3d
bjorn: 3.5 dB (L), 3.6 dB (R), -56.8 dBFS (L), -58.1 dBFS (R)
mkIV
bjorn: 0.2 dB (L), 0.2 dB (R), -42.7 dBFS (L), -44.0 dBFS (R)

Metric Halo ULN-8
Actualsizeaudio, ULN-8 3d : 3.6 dB (L), 3.5 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)
drlex: -0.1 dB (L), -0.1 dB (R), -56.8 dBFS (L), -58.2 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)
Samovski: 6.2 dB (L), 6.2 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)
Grooved: 0.1 dB (L), 0.1 dB (R), -56.7 dBFS (L), -58.1 dBFS (R)
tonedude: 6.0 dB (L), 6.0 dB (R), -56.7 dBFS (L), -58.0 dBFS (R)
ggsm27: 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)

MOTU 828es, 5-6 TRS out to 5-6 TRS in, 1 sample L vs. R shift compensated for (sm5)
0.2 dB (L), 0.2 (R), -56.6 dBFS (L), -57.9 dBFS (R)

Apogee Symphony I/O Mk II 2×6 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)

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 (the pan flip was corrected for the measurement): 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)

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)
Premium, aux out to line in (euggie2000)
DA filter set to Sharp: 0.3 dB (L), 0.3 dB (R), -51.2 dBFS (L), -52.0 dBFS (R)
DA filter set to Slow: 0.3 dB (L), 0.3 dB (R), -51.4 dBFS (L), -52.3 dBFS (R)
DA filter set to Apodizing: 0.3 dB (L), 0.3 dB (R), -51.2 dBFS (L), -52.0 dBFS (R)
DA filter set to Brickwall: -2.2 dB (L), -2.2 dB (R), -50.4 dBFS (L), -49.8 dBFS (R)
Premium, main out to preamp in, DA filter set to Slow (euggie2000): 0.2 dB (L), 0.2 dB (R), -50.5 dBFS (L), -51.5 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)

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), -50.9 dBFS (L), -50.0 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-192
Spartacus: 0.5 dB (L), 0.5 dB (R), -50.7 dBFS (L), -50.0 dBFS (R)
thomasjacquot: 0.1 dB (L), 0.1 dB (R), -50.7 dBFS (L), -50.0 dBFS (R)

Antelope Orion Studio Rev2017 (jeamsler)
Line Out to Line In: 1.3 dB (L), 1.3 dB (R), -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)

TC Electronic 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)

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)
thomasjacquot, XLR or jack phone or minijackphone out
XLR in: 0.1 dB (L), 0.1 dB (R), -47.7 - -47.6 dBFS (L), -48.7 dBFS (R)
jack in: 0.1 - 0.2 dB (L), 0.1 - 0.2 dB (R), -48.8 dBFS (L), -49.8 dBFS (R)

Apogee Symphony Desktop (cEgws)
6.2 dB (L), 6.2 dB (R), -48.7 dBFS (L), -50.0 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)

Acousense adda191 reference (drlex)
with AD input gain active electronics: 2.9 dB (L), 2.9 dB (R), -46.2 dBFS (L), -47.4 dBFS (R)
AD input active gain electronics bypassed: 2.9 dB (L), 2.9 dB (R), -47.9 dBFS (L), -49.3 dBFS (R)

Avid Pro Tools Carbon (mfic), monitor or line out to line in
0.9 dB (L), 0.9 dB (R), -47.9 dBFS (L), -48.8 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
No[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 Orion 32HD (Actualsizeaudio)
0.1 dB (L), 0.1 dB (R), -46.8 dBFS (L), -47.9 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)

MOTU UltraLite-mk5
(chrisjones): -0.1 dB (L), -0.0 dB (R), -46.6 dBFS (L), -47.6 dBFS (R)
Monkeyxx: 4.1 dB (L), 10.1 dB (R), -46.7 dBFS (L), -47.6 dBFS (R)

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

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)

SSL 2 (guigui)
4K off: 8.5 dB (L), 8.4 (R), -46.2 dBFS (L), -47.6 dBFS (R)
4K on: 6.7 dB (L), 6.4 dB (R), -40.4 dBFS (L), -40.2 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)

Universal Audio Apollo x4 (Samovski)
6.2 dB (L), 6.2 dB (R), -45.6 dBFS (L), -46.8 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)

Universal Audio Apollo Twin USB Duo (Lord_R), Line Out 3/4 to Line In 1/2 - 16db Line Gain
0.4 dB (L), 0.4 dB (R), -45.1 dBFS (L), -45.8 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)

RME Babyface Pro FS
asthmaattack
XLR out 1-2 to unbalanced line in 3-4 and the same with another unit: 0.2 dB (L), 0.3/0.2 dB (R), -45.2 dBFS (L), -46.2 dBFS (R)
XLR out 1-2 to XLR in 1-2 at 0 dB gain + pad 19 dBu: 0.7 dB (L), 0.8 dB (R), -44.5 dBFS (L), -45.6 dBFS (R)
johannburkard, headphone out and line in
out gain 0 dB, in @ 4 dBu: 6.2 dB (L), 6.2 dB (R), -45.2 dBFS (L), -46.2 dBFS (R)
out gain -2.5 dB, in @ -10 dBV: -0.0 dB (L), -0.0 dB (R), -45.2 dBFS (L), -46.2 dBFS (R)
innovo, XLR Outs to 1/4 TS Ins, +19 dBu: 0.7 dB (L), 0.7 dB (R), -45.2 dBFS (L), -46.2 dBFS (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)

Antelope Galaxy 64 Synergy Core (demarcus_b)
analog out 1/2 to analog in 1/2: 0.2 dB (L), 0.2 dB (R), -44.2 dBFS (L), -45.2 dBFS (R)
monitor out L/R to analog in 1/2: -0.1 dB (L), -0.0 dB (R), -44.2 dBFS (L), -45.0 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)

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)

ESI WaMi Rack 24 (Reticular)
4 dBu: 1.2 dB (L), 1.2 dB (R), -43.6 dBFS (L), -44.9 dBFS (R)
10 dBu: 1.3 dB (L), 1.2 dB (R), -43.5 dBFS (L), -44.8 dBFS (R)

Antelope Orion 32HD | Gen 3 (thomasjacquot)
line in/out 1-2: -0.1 dB (L), -0.1 dB (R), -43.6 dBFS (L), -44.7 dBFS (R)
line in / monitor out: 0.1 dB (L), 0.1 dB (R), -42.5 dBFS (L), -43.6 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)

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)

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)

Metric Halo ULN8 mkIV (Actualsizeaudio)
0.2 dB (L), 0.3 dB (R), -43.0 dBFS (L), -44.2 dBFS (R)

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

RME Audio HDSPe AIO Pro (SteveDanger)
0.2 dB (L), 0.3 dB (R), -42.9 dBFS (L), -44.1 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 iD14 (sm5)
8.8 dB (L), 9.1 dB (R), -42.6 dBFS (L), -43.9 dBFS (R)

Echo Gina24 (Reticular)
-0.1 dB (L), -0.1dB (R), -42.4 dBFS (L), -43.6 dBFS (R)

Universal Audio Apollo x16
Philip Marinelis: 0.4 dB (L), 0.4 dB (R), -42.4 dBFS (L), -43.5 dBFS (R)
jrasia, regular DAC to ADC: 0.4 dB (L), 0.4 dB (R), -42.4 dBFS (L), -43.6 dBFS (R)
jrasia, master output DAC to ADC: 0.8 dB (L), 0.9 dB (R), -42.4 dBFS (L), -43.5 dBFS (R)

Apogee Duet 3 (spankjam)
-0.2 dB (L), -0.2 dB (R), -42.3 dBFS (L), -43.7 dBFS (R)

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

PreSonus FireStudio Mobile (Grooved)
0.2 dB (L), 0.1 dB (R), -42.0 dBFS (L), -43.1 dBFS (R)

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

Yamaha i88X (KingKonsole)
7.4 dB (L), 7.2 dB (R), -41.9 dBFS (L), -42.6 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 Duet 2
isma: 1.0 dB (L), 1.0 dB (R), -40.2 dBFS (L), -41.6 dBFS (R)
Dirk Churlish
4 dBu line out to 4 dBu line in / mic preamp in with no gain: 0.8 dB (L), 0.8 dB (R), -40.1 dBFS (L), -41.4 dBFS (R)
-10 dBV line out to -10 dBV line in / mic preamp in with no gain: 0.5 / 12.5 dB (L), 0.5 / 12.5 dB (R), -39.4 dBFS (L), -40.7 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)

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)

Behringer U-Control UCA202 (demarcus_b)
0.2 dB (L), 0.5 dB (R), -38.6 dBFS (L), -40.0 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)

Lynx Hilo clocked by Mutec MC-3+ (drlex): 3.0 dB (L), 3.0 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)

Antelope Pure2 clocked by Black Lion Audio MK3 XB (leolycra): 0.0 dB (L), 0.0 dB (R), -56.8 dB (L), -58.2 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)

Crane Song HEDD-192 clocked by Antelope Orion 32HD | Gen 3 (thomasjacquot): 0.1 dB (L), 0.1 dB (R), -50.7 dBFS (L), -49.9 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 Aurora 8 (cylens): -0.5 dB (L), -0.5 dB (R), -44.8 dBFS (L), -46.1 dBFS (R)

Antelope Orion 32HD | Gen 3, line in/out 1-2, clocked by Crane Song HEDD-192 (thomasjacquot): 0.1 dB (L), 0.1 dB (R), -43.6 dBFS (L), -44.7 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)

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 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 Gearspace)
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)

---> Texas Instrument PCM4222 Evaluation Module as master, DC filter off (living sounds)
Swissonic DA24 MkII: 0,1 dB (L), 0,1 dB (R), -73.0 dBFS (L), -73.8 dBFS (R)
SPL Madison, Details of the clocking.: 0.2 dB (L), 0.2 dB (R), -74.4 dBFS (L), -72.2 dBFS (R)

Focusrite Blue 260 ---> Focusrite Blue 245 as master through WC or AES (funka): 2.0 dB (L), 2.0 dB (R), -71.4014 dBFS (L), -71.4014 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)

Metric Halo ULN-8 ---> Brooklyn ADC as master (drlex): 3.1 dB (L), 3.0 dB (R), -64.5 dBFS (L), -65.9 dBFS (R)

SPL Madison ---> Brooklyn ADC as master (drlex): 3.1 dB(L), 3.1 dB (R), -64.3 dBFS (L), -65.6 dBFS (R)

---> Mytek Brooklyn ADC, same results with Metric Halo ULN-8 or Broooklyn as master, 1 sample L vs. R shift caused by ULN-8 compensated for (Actualsizeaudio)
Zod Modified Ross Martin Audio Dual 1794: 0.6 dB (L), 0.5 dB (R), -63.4 dBFS (L), -64.7 dBFS (R)
Zod Audio modded Ross Martin Audio AES8 DAC: 0.2 dB (L), 0.1 dB (R), -62.8 dBFS (L), -64.2 dBFS (R)
Metric Halo ULN-8: 0.4 dB (L), 0.3 (R), -61.2 dBFS (L), -62.6 dBFS (R)

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 ULN-8 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)

Lavry Quintessence DA-N5 ---> Lavry AD 24-200 Savitr as master (Mikathechou): 0.0 dB (L), 0.0 dB (R), -55.8 dBFS (L), -57.1 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 ---> Metric Halo LIO-8 (Antoine Fabi): 0.4 dB (L), 0.4 dB (R), -55.7 dBFS (L), -56.2 dBFS (R)

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

Lynx Hilo ---> Mytek Brooklyn ADC, Hilo or Brooklyn as master (drlex): 3.1 dB (L), 3.0 dB (R), -52.8 dBFS (L), -52.0 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)

Lynx Aurora(n) ---> Lavry AD 24-200 Savitr as master (Mikathechou): -0.0 dB (L), -0.0 dB (R), -50.9 dBF (L), -50.6 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)

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

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

Lavry Quintessence DA-N5 ---> Lynx Aurora(n) as master (Mikathechou): 0.0 dB (L), -0.0 dB (R), -51.0 dBFS (L), -50.1 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)

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

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

RME Babyface Pro FS ---> Mytek Brooklyn ADC as master (johannburkard)
4 dBu Babyface XLR out: 13.4 dB (L), 13.4 dB (R), -49.7 dBFS (L), -50.6 dBFS (R)
19 dBu Babyface XLR out: 0.4 dB (L), 0.4 dB (R), -49.8 dBFS (L), -50.7 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)

Apogee Element 24 as master ---> RME ADI 2-Pro FS, SD sharp filter setting (pkane): 0.2 dB (L), 0.2 dB (R), -49.6 dBFS (L), -50.5 dBFS (R)

Forssell MADA-2 ---> Lynx 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 Hilo ---> MSB PAD-1 as master through AES (drlex): 3.1 dB (L), 3.1 dB (R), -48.2 dBFS (L), -48.5 dBFS (L)

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)

Audient iD14 ---> Lynx Hilo as master (sm5): 5.8 dB (L), 5.8 dB (R), -45.3 dBFS (L), -46.2 dBFS (R)

Eventide H9000R ---> DirectOut ANDIAMO (2mmi)
: 6.5 dB (L), 6.4 dB (R), -43.7 dBFS (L), -45.1 dBFS (R)

Metric Halo LIO-8 mkIV ---> Akai S3200XL as master (bjorn)
0.2 dB (L), 0.2 dB (R), -42.7 dBFS (L), -44.0 dBFS (R)

RME Babyface Pro FS ---> TC Electronic Gold Channel (johannburkard): 0.5 dB (L), 0.5 dB (R), -41.8 dBFS (L), -42.0 dBFS (R)

Tascam DA-3000 ---> 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 ULN-8 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 ULN-8, 1 sample L vs. R shift caused by ULN-8 compensated for (Actualsizeaudio): 3.8 dB (L), 3.8 dB (R), -35.6 dBFS (L), -35.0 dBFS (R)

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 with loopback gain less than 0 dB in order to avoid clipping (the original peaks to 0 dBFS),
- 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!

Loopback tests requested by forum members: Eventide H8000FW and Eventide H9000R (for confirming the ones at the top of the list of the results), Pacific Microsonics Model One and Model Two, Slate Digital VRS-8, SSL 2+, RME M-32 AD Pro --> M-32 DA Pro, RME M-1610 Pro, Audient iD14 MKII, Prism Dream DA-2 --> AD-2, BlackLion Audio Revolution 2×2, RME MADIface Pro, RME Fireface UCX II, SSL BiG SiX, Prism Sound Dream ADA-128, anything from Qes Lab, JCF, Burl and Linn, PreSonus Quantum 2626, PreSonus Studio 192, UltraLite MK5 as a DAC into a very high performance ADC, very high performance DAC into Antelope Pure2, very high performance DAC into Audient iD22. Of course any other one welcome!

Last edited by didier.brest; 13th October 2022 at 02:45 PM..
Old 19th October 2022
  #2629
Here for the gear
 
🎧 10 years
Midas M32R
Bus 1-2 out
XLR 1-2 in

https://we.tl/t-ibXGzSwtP8
Old 19th October 2022 | Show parent
  #2630
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by AndG ➡️
Midas M32R
-94.787693 ms, 3.2346 dB (L), 3.2132 dB (R), -39.8497 dBFS (L), -41.5641 dBFS (R)

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

Last edited by didier.brest; 2 weeks ago at 10:38 AM..
Old 2 weeks ago
  #2631
Here for the gear
 
Hello,
Yamaha CL5,
OMNI LINE LEVEL OUT (0db), OMNI IN (-2db) + OMNI MIC LEVEL OUT -20, OMNI IN +20
https://drive.google.com/open?id=1CU...m&usp=drive_fs

Yamaha RIO 3216 GEN 1 LINE LEVEL OUT 0db in -2dB
https://drive.google.com/open?id=1CW...m&usp=drive_fs
Old 2 weeks ago | Show parent
  #2632
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by thomasjacquot ➡️
Yamaha CL5
Yamaha CL5 OMNI.wav
-3.542532 ms, 0.9479 dB (L), 0.9535 dB (R), -45.1578 dBFS, -46.1763 dBFS

Yamaha CL5 OMNI +20.wav
-3.542245 ms, 0.1265 dB (L), 0.1316 dB (R), -45.4865 dBFS, -46.8993 dBFS (R)

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

Quote:
Originally Posted by thomasjacquot ➡️
OMNI LINE LEVEL OUT (0db), OMNI IN (-2db) + OMNI MIC LEVEL OUT -20, OMNI IN +20
Please could you make clearer which DA output and AD input at which gains did you use for each of above loopback files?
My understanding is
Yamaha CL5 OMNI.wav: DA output = OMNI out, 0dB - AD input = 0MNI in, -2dB
Yamaha CL5 OMNI +20.wav: DA output = OMNI out, -20dB - AD input = 0MNI in, +20dB
Is it correct?

Last edited by didier.brest; 2 weeks ago at 10:39 AM..
Old 2 weeks ago | Show parent
  #2633
Lives for gear
 
didier.brest's Avatar
 
🎧 10 years
Quote:
Originally Posted by thomasjacquot ➡️
Yamaha RIO 3216 GEN 1 LINE LEVEL OUT 0db in -2dB
-3.119955 ms, 0.5462 dB (L), 0.5458 dB (R), -45.6729 dBFS (L), -47.0388 dBFS (R)

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

Loopback tests requested by forum members: Eventide H8000FW and Eventide H9000R (for confirming the ones at the top of the list of the results), Pacific Microsonics Model One and Model Two, Slate Digital VRS-8, SSL 2+, RME M-32 AD Pro --> M-32 DA Pro, RME M-1610 Pro, Audient iD14 MKII, Prism Dream DA-2 --> AD-2, BlackLion Audio Revolution 2×2, RME MADIface Pro, RME Fireface UCX II, SSL BiG SiX, Prism Sound Dream ADA-128, anything from Qes Lab, JCF, Burl and Linn, PreSonus Quantum 2626, PreSonus Studio 192, UltraLite MK5 as a DAC into a very high performance ADC, very high performance DAC into Antelope Pure2, very high performance DAC into Audient iD22. Of course any other one welcome!
Old 2 weeks ago | Show parent
  #2634
Gear Head
 
Have we learned how bypass the adi-2 pro's coupling caps?
Old 2 weeks ago | Show parent
  #2635
Here for the gear
 
Quote:
Originally Posted by didier.brest ➡️
Yamaha CL5 OMNI.wav
-3.542532 ms, 0.9479 dB (L), 0.9535 dB (R), -45.1578 dBFS, -46.1763 dBFS

Yamaha CL5 OMNI +20.wav
-3.542245 ms, 0.1265 dB (L), 0.1316 dB (R), -45.4865 dBFS, -46.8993 dBFS (R)

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


Please could you make clearer which DA output and AD input at which gains did you use for each of above loopback files?
My understanding is
Yamaha CL5 OMNI.wav: DA output = OMNI out, 0dB - AD input = 0MNI in, -2dB
Yamaha CL5 OMNI +20.wav: DA output = OMNI out, -20dB - AD input = 0MNI in, +20dB
Is it correct?
yes exactly, sorry.
Old 1 week ago | Show parent
  #2636
Gear Addict
 
🎧 5 years
Quote:
Originally Posted by maxerror ➡️
Have we learned how bypass the adi-2 pro's coupling caps?
I'd be interested, if that is really a good and safe idea. It seems, the unit is measuring better by bypassing them, right? What is the worst thing, that could happen by doing so?
Old 1 week ago | Show parent
  #2637
Quote:
Originally Posted by TJ99 ➡️
I'd be interested, if that is really a good and safe idea. It seems, the unit is measuring better by bypassing them, right? What is the worst thing, that could happen by doing so?
Probably move something adjacent away if you're not used to SMD rework. Taking photos before usually helps.
Old 1 week ago | Show parent
  #2638
Gear Addict
 
🎧 5 years
Quote:
Originally Posted by johannburkard ➡️
Probably move something adjacent away if you're not used to SMD rework. Taking photos before usually helps.
Yes, but they are there for a reason, I suppose? Isn't there the possibilty that a DC signal interferes with the AC signal, resulting in measureable and even audible noise (or something similar)?
Old 1 week ago | Show parent
  #2639
Quote:
Originally Posted by TJ99 ➡️
Yes, but they are there for a reason, I suppose? Isn't there the possibilty that a DC signal interferes with the AC signal, resulting in measureable and even audible noise (or something similar)?
I don't know a lot of DC-coupled gear so I think the amount of DC in audio is typically negligible.
Old 1 week ago | Show parent
  #2640
Lives for gear
 
🎧 15 years
Modern AD chips typically employ a highpass filter in the digital realm, so bridging caps won't help there.

There are chips like the PCM4222 that allow you to turn the filter off, but the resulting DC requires DC offset adjustment in the analog domain to get it down to levels that today would be viewed as acceptable. This would also demand a calibration procedure to be run continuously.

The now-discontinued Prism AD-2 seems to have used something like a DC servo to constantly adjust DC.

To my ears the digital filters, despite being nominally outside the hearing range, quite obviously alter the sound. Whenever possible I opt to go without them. For some reason they are a lot worse than simple DC blocking caps in a well-designed analog signal path.
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