My pleasure.

For those on Mac, who have Mac version of MS Office Excel, it can be opened up by right clicking- open with a free app called The Unarchiver.

Then it will automatically convert to an Excel spreadsheet.

Quick suggestion. Maybe include the separate headings same as Didier has.

AD-DA converters performing from their internal clock

External clocking

Separate converters Synchronised mode

Thanks for the layout. Well done

Thnx for the excel, will pivot some stuff out over de weekend, trying to recognize some data patterns

Tests from paulthesparky

SPL Madison clocked by RME HDSPe Madi PCIE Card through worldclock
ADM: -1,898msec, 0,077dB (L), 0,138dB (R)..Corr Depth: 27,2 dB (L), 28,8 dB (R) Difference: -46.8 dBFS (L) -47.9 dBFS (R)
Matlab: -1.900532 ms, 0.0764 dB (L), 0.1363 dB (R) Difference: -47.7 dBFS (L) -49.0 dBFS (R)

SPL Madison
ADM: -1,966msec, 0,077dB (L), 0,138dB (R)..Corr Depth: 27,2 dB (L), 28,8 dB (R) Difference: -46.8 dBFS (L) -47.9 dBFS (R)
Matlab: -1.968559 ms, 0.0763 dB (L), 0.1363 dB (R) Difference: -47.7 dBFS (L) -49.0 dBFS (R)

SPL Madison ---> RME Fireface UFX+, clocked by RME HDSPe Madi PCIE Card through worldclock
ADM: -1,541msec, 0,045dB (L), 0,062dB (R)..Corr Depth: 28,5 dB (L), 30,0 dB (R) Difference: -48.1 dBFS (L) -49.2 dBFS (R)
Matlab: -1.543462 ms, 0.0448 dB (L), 0.0615 dB (R) Difference: -49.0 dBFS (L) -50.3 dBFS (R)

SPL Madison ---> RME Fireface UFX+ as master through worldclock
ADM: -1,518msec, 0,046dB (L), 0,064dB (R)..Corr Depth: 28,5 dB (L), 30,0 dB (R) Difference: -48.1 dBFS (L) -49.2 dBFS (R)
Matlab: -1.520841 ms, 0.0462 dB (L), 0.0628 dB (R) Difference: -49.0 dBFS (L) -50.3 dBFS (R)

SPL Madison as master through worldclock ---> RME Fireface UFX+
ADM: -1,598msec, 0,051dB (L), 0,067dB (R)..Corr Depth: 28,5 dB (L), 30,0 dB (R) Difference: -48.2 dBFS (L) -49.2 dBFS (R)
Matlab: -1.600119 ms, 0.0501 dB (L), 0.0668 dB (R) Difference: -49.0 dBFS (L) -50.3 dBFS (R)

SPL Madison ---> RME Fireface UFX+, clocked by RME HDSPe Madi PCIE Card through MADI
ADM: -1,551msec, 0,045dB (L), 0,062dB (R)..Corr Depth: 28,5 dB (L), 30,0 dB (R) Difference: -48.2 dBFS (L) -49.2 dBFS (R)
Matlab: -1.553651 ms, 0.0447 dB (L), 0.0614 dB (R) Difference: -49.0 dBFS (L) -50.3 dBFS (R)

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

Oh but I have. See column H, it says CLOCKED BY. If the converter is clocked by another converter, it's shown in that column, and if it's empty, it indicates it's clocked internally. Or do you want me to put the word "Internally" instead of empty cells? I've also done the same for synchronized and unsynchronized mode. So I'm confused, can you elaborate? And I'll fix it.

Oh I see. That's o.k 'as is', up to you. Just happy you went to all the trouble in the first place.

Just thought possibly, if it was broken up into the 3 sections with the headings of each section in BOLD in the middle, above each section, just to make it more obvious.

Cheers

Well how about now? The headings are in bold, so are the converters' names. Also added "Clocked Internally" for the appropriate converters. Let me know what other changes you'd like to see.

Hello there,

I've looped back my Aurora (n) 8 USB with 2 types of cables and one run with -8 dBfs because I saw a review about the level of Hilo devices.

https://drive.google.com/open?id=1D_...20yduYSogd6mLF

0 dB vs. -0.1 dB vs. -1 dB vs. -8 dB

Lynx Aurora (n) 8 USB - Sommer Cable - CH 12 -8 dBfs.wav
-6.145910 ms, 8.0026 dB (L), 8.0046 dB (R). Difference: -58.9033 dBFS (L), -59.0267 dBFS (R)

Lynx Aurora (n) 8 USB - Sommer Cable - CH 12 -1.wav
-3.764958 ms, 1.0047 dB (L), 1.0067 dB (R), Difference: -58.9041 dBFS (L), -59.0273 dBFS (R)

Lynx Aurora (n) 8 USB - Sommer Cable - CH 12 -0.1 PT.wav
-3.764958 ms, 0.1049 dB (L), 0.1068 dB (R). Difference: -58.9043 dBFS(L), -59.0273 dBFS (R)

Lynx Aurora (n) 8 USB - Sommer Cable - CH 12.wav
-6.145910 ms, 0.0020 dB (L), 0.0040 dB (R), Difference: -58.9023 dBFS (L), -59.0261 dBFS (R)



CH 5&6 vs. CH 1&2

Lynx Aurora (n) 8 USB - Sommer Cable - CH 56.wav
-6.145916 ms, 0.0203 dB (L), 0.0225 dB (R), Difference: -58.9023 dBFS (L), -59.0264 dBFS (R)

CH 1&2 test result here above.



Cheap vs. quality cable

Lynx Aurora (n) 8 USB - Musicstore Cable - CH 56 Test.wav
-6.146184 ms, 0.1702 dB (L), 0.0245 dB (R), Difference: 58.8947 dBFS (L), -58.8947 dBFS (R)

Sommer cable test result here above.

What are the lengths of your Sommer and Musicstore cables ?

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

My tests from two weeks ago including the Mytek Brooklyn ADC were not in here BTW.

All the tests performed after the third of April will be in the list of the test results to be issued as soon as I will have completed modifications (mostly replacing Difference figures by Difference* figures) to the current list of the test results..

Thanks a lot for the quick analysis ?

Both are 3 meters in length.

Why you're asking?

I think the Auroras bottleneck is the dsub connection which I will try to overcome by soldering good xlr cables to a dsub connector.

Do you own the DAC as well?

Because it is a relevant parameter for cables comparison, which, I guess, was your intent by doing two tests identical except for the cables.

Yeah and I think if I soldered a good XLR cable to the DSUB connector, the phase out would probably be a tick better.

When you have some spare time on your hand, would you be so kind to do a quick shootout of this loopback comparison? It includes the Cranesong Quantum so I'd love to know how it performs against the Aurora, Dangerous, Anubis and DAD AX32

Although I think you already supplied me with the Anubis results a while back, I just added it for comparison's sake.

https://drive.google.com/open?id=1sB...W-fxmEK_5cnTJ4

Thanks in advance.

Yes and some other ones too.

I'd really love to see how Brooklyn's DA performs.

I do not.

Some changes in this new issue of the list of the results:
- The correlated null depth ('Corr. Depth') figures from Audio DiffMaker have been removed because no precise definition of this parameter, which seems specific to ADM, can be found.
- The 'Difference' figures measured on the difference files provided by ADM were replaced by lower 'Difference*' figures computed in Matlab. A few tests with Difference figures were removed when their loopback files were not available for computation of the Difference* figures.
- The asynchronous mode is no longer supported. The results from the asyncronous tests done up to now remain available here.

List of results updated with Apogee Symphony I/O Mk II 2×6 SE card test by ziegenh5, Lynx Aurora(n) test by Spankjam, Metric Halo ULN8, Mytek Brooklyn ADC, Zod Modified Ross Martin Audio Dual 1794 and Zod Audio modifed Ross Martin Audio PCM4222 ADC tests by Actualsizeaudio, SPL Madison and Lynx Aurora test by funka, SPL Madison and RME Firafeace UFX+ tests by paulthesparky

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

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

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

AD-DA converters driven by their internal clock

Lynx Hilo
CoolColJ - 6 last second part disregarded: -0.1 dB (L), -0.1 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)
sm5, line in and line out trims set at +0: -0.1 dB (L), -0.1 dB (R), -58.9 dBFS (L), -59.0 dBFS (R)
sm5, level line in and line out trims set at +24: 0.0 dB (L), 0.0 dB (R), -59.1 dBFS (L), -59.1 dBFS (R)
Agustin Mongelli, Line out: -0.1 dB (L), -0.1 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Phone out: 0.0 dB (L), 0.1 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)
Agustin Mongelli, Line Out Trim 0dBV, Line In Trim 2dBV: 1.9 B (L), 1.9 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)
capn357: 0.0 dB (L), 0.1 dB (R), -59.1 dBFS (L), -59.1 dBFS (R)
schizoide on Pragmatic Audio: 0.0 dB (L), 0.0 dB (R), -59.1 dBFS (L), -59.2 dBFS (R)

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

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

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

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

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

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

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

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

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

Apogee Symphony I/O Mk II 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: 0.5 dB (L), 0.6 dB (R), -55.0 dBFS (L), -56.3 dBFS (R)
Zek: 0.9 dB (L), 1.0 dB (R), -49.8 dBFS (L), -50.8 dBFS (R)

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

Lynx Aurora 16
Touf on Pragmatic Audio: -0.1dB (L), -0.1dB (R), -54.5 dBFS (L), -55.6 dBFS (R)
antichef: -0.1 dB (L), -0.1 dB (R), -54.5 dBFS (L), -55.5 dBFS (R)
Aurora 16-VT, out-in through patch bay, Mikathechou: 1.1 dB (L), 1.1 dB (R), -52.9 dBFS (L), -54.1 dBFS (R)

Edirol UA-1000 (gollumsluvslave)
0.2 dB (L), 0.2 dB (R), -54.4 dBFS (L), -55.7 dBFS (R)

RME ADI-2 Pro, balanced out to balanced in
LesC
Sharp DA - Sharp AD: 0.4 dB (L), 0.4 dB (R), -53.9 dBFS (L), -55.2 dBFS (R)
Slow DA - Slow AD: 0.4 dB (L), 0.3 dB (R), -52.8 dBFS (L), -54.3 dBFS (R)
SD Sharp DA - SD Sharp AD: 0.4 dB (L), 0.4 dB (R), -44.5 dBFS (L), -45.5 dBFS (R)
SD Slow DA - SD slow AD: 0.3 dB (L), 0.3 dB (R) -47.9 dBFS (L), -48.9 dBFS (R)
FS version, unspecified setting (Archimago): 0.2 dB (L), 0.2 dB (R), -44.3 dBFS (L), -45.4 dBFS (R)

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

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

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

ESI Juli@ (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 Juli@ XTe
DUJS: -0.3 dB (L), -0.3 dB (R), -53.1 dBFS (L), -54.5 dBFS (R)
edneysis: -0.4 dB (L), -0.5 dB (R), -53.3 dBFS (L), -54.7 dBFS (R)

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

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

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

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

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

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

Prism Orpheus (MainTime)
0.1 dB (L), 0.1 dB (R), -51.1 dBFS (L), -52.4 dBFS (R)

Digidesign Digi 002 Rack with Black Lion Audio Signature mod. Line Out 7+8 to Line In 7+8 (jlam)
0.3 dB (L), 0.4 dB (R), -50.7 dBFS (L), -52.1 dBFS (R)

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

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

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

MOTU Track16 (EvgenyStudio)
7.0 dB (L), 6.9 dB (R), -50,4 dBFS (L), -51,6 dBFS (R)

Forssell MADA-2
vjm through funkakuchi on Pragmatic Audio): 3.6 dB (L), 4.1 dB (R), -50.3 dBFS (L , -51.7 dBFS (R)
MattGray (rev. a unit): 0.0 dB (L), 0.0 dB (R), -50.1 dBFS (L), -51.5 dBFS (R)
Mikathechou (DA converters upgraded to 2-a version ones): 1.0 dB (L), 1.0 dB (R), -50.1 dBFS (L), -51.5 dBFS (R)

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

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

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

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

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

Apogee Rosetta 200 (Winston Tones)
-0.1 dB (L), -0.0 dB (R), -50.7 dBFS (L), -50.0 dBFS (R)

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

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

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

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

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

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

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

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

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

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

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

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

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

SSL Alpha-Link MX 16-4 (Sankly)
0.1 dB (L), 0,1 dB (R), -47.6 dBFS (L), -48.9 dBFS 5R°

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)

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

DAD AX24 (Norm@gear)
-0,1 dB (L), -0,1 dB (R), -46.8 dBFS (L), -47.3 dBFS (R)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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)

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

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

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

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

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

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

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

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

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

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

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)

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

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

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

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

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

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

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

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

Focusrite Saffire Pro 24 DSP (CoolColJ), first 45s part disregarded, which increases the RMS level of the original by 0.4 dB
5.2 dB (L), 5.2 dB (R), -39.6 dBFS (L), -40.9 dBFS (R)

MOTU 828es, 5-6 TRS out to 5-6 TRS in (sm5)
0.2 dB (L), 0.2 dB (R), -39.6 dBFS (L), -39.6 dBFS (R)

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

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

Tascam US-144MKII (capn357)
0,2 dB (L), 0,4 dB (R), -39.0 dBFS (L), -40.4 dBFS (R)

RME Fireface UFX (didier.brest)
XLR outputs 1-2 to TRS inputs 3-4: 0.8 dB (L), 0.7 dB (R), -39.0 dBFS (L), -40.3 dBFS (R)
TRS outputs 5-6 to TRS inputs 3-4: 0.7 dB (L), 0.7 dB (R), -38.8 dBFS (L), -40.3 dBFS (R)
outputs 1-2 to XLR preamp inputs 9-10: 0.4 dB (L), 0.4 dB (R), -35.2 dBFS (L), -36.5 dBFS (R)

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

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

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

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

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

Echo AudioFire 2 (dheming)
0.6 dB (L), 0.2 dB (R), -37.8 dBFS (L), -37.9 dBFS (R)

Focusrite Scarlett 6i6 2nd Gen (Susceptor)
1&2 in to 3&4 out: 1.1 dB (L), 1.2 dB (R), -34.7 dBFS (L), -36.0 dBFS (R)
3&4 in to 3&4 out: 1.1 dB (L), 1.2 dB (R), -37.7 dBFS (L), -38.9 dBFS (R)

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

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

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

Zoom F4 (sm5)
main out in XLR 1-2: 0.1 dB (L), 0.1 dB (R), -36.6 dBFS (L), -38.0 dBFS (R)
main out in unbalanced stereo TRS 5-6 input: 5.5 dB (L), 5.6 dB (R), -36.1 dBFS (L), -37.5 dBFS (R)
stereo TRS 3-4 out to 5-6 IN: 0.9 dB (L), 1.0 dB (R), -36.1 dBFS (L), -37.5 dBFS (R)

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

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

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

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

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

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

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)

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)


External clocking

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

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

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

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

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

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

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

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


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)

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

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

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

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

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

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

RME 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)

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)


Separate converters

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

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

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

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

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

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

ESI Juli@ XTe DAC ---> MSB Studio ADC as master (DUJS)
1.6 dB (L), 1.6 dB (R), -66.1 dBFS (L), -67.6 dBFS (R)

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

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

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

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

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

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

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

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

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

Forssell MADA-2 2-a ---> Texas Instrument PCM4222 Evaluation Module as master (Mikathechou)
0.7 dB (L), 0.7 dB (R), -56.5 dBFS (L), -57.9 dBFS (R)

Swissonic DA24 MkII ---> Black Lion Audio Sparrow mkII (living sounds)
0.6 dB (L), 0.6 dB (R), -56.4 dBFS (L), -57.8 dBFS (R)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lavry DA924 ---> Lavry AD122-96MkII clocked by Antelope Isochrone Trinity + Antelope Isochrone 10M (Winston Tones)
0.0 dB (L), 0.0 dB (R), -50.0 dBFS (L), -51.3 dBFS (R)

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

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

Ross Martin Audio AES8 DAC to Ross Martin Audio PCM4222ADC master (Actualsizeaudio)
2.4 dB (L), 2.1 dB (R), -49.7 dBFS (L), -50.9 dBFS (R)

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

Zod Audio modded Ross Martin Audio AES8 into Zod Audio modded RMA PCM4222 slave to Metric Halo ULN-8 3d (Actualsizeaudio)
3.7 dB (L), 4.1 dB (R), -49.6 dBFS (L), -51.0 dBFS (R)

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

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

Lynx Aurora 16-VT --->_Forssell MADA-2 as master (Mikathechou)
1.1 dB (L), 1.1 dB (R), -48.0 dBFS (L), -48.3 dBFS (R)

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

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

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

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

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

Atoll DAC200 --> RME Babyface as master (didier.brest)
1.0 dB (L), 1.3 dB (R), -30.5 dBFS (L), -32.1 dBFS (R)

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

For contributing to this test :
- download the test 2 x 44 kHz x 24 bit wav file (31 MB),
- cable link the 2 DAC outputs to 2 ADC inputs (separate DAC and ADC have to be driven by the same clock),
- play back the test file to the DAC outputs and record from the ADC inputs,
- upload to mediafire or any other file sharing site the 2 x 44 kHz x 24 bit wav file from this recording and
- provide the download link here with information about ADC and DAC identities (and the clocking for external clocking or separate converters).
Your contribution is welcome even if your converter is already in the above list.
Thank you !

Hi, I also processed all (accessible) wav files from this thread and ready to show my results. Just want to check if my posts are visible because this is my first one )).

Your visible

I posted but it has to be approved by mod. Don't know why.

Did you get a few (possible errors in my list) or many difference level values lower than mine ? Please could you give a few examples with the precise values of the time shift and both gains applied to the copy ? A full alternative list of results would mess up this thread.

In most cases results of both computations are consistent, which is a good sign, especially taking into account that I used different method and software for that. Some features of my Matlab code:

• special algorithm removes both linear amplitude and linear time transformations of the output signal under test with any predefined precision; in other words the algo compares the structure of two waveforms regardless of their DC offsets, amplitudes, phase and pitch shifts, sample rates
  
• usually (as in this case) Df values are computed for L+R signals (with correct summation) resulting a single Df value for stereo signals
  
• using of 400 ms (or any) time window for computation of Df; thus the 2 min test clip produces 302 df values, which show how degradation of the waveform varies with time
  
• such series of Df values are color coded and visualized in the form of diffrogram (combined with spectrogram for convenience); so, degradation of different parts of a test signal becomes visible (using desired time window)
  
• having a series of Df values instead of a single overall value allows to introduce the concept of artifact signature and compare such signatures with one another
  
• each DUT has its own artifact signature and similarity between them can be computed and visualized in 3D

One-page introduction to this new audio metric - https://www.researchgate.net/publica...s_a_difference. The paper also has a link to the Matlab code

While both DiffMaker and SE Matlab code measure the same physical entity - RMS amplitude of difference signal - they use different methods and scales, so resulting measurements have some non-linear shift of around 13 dB between them. So, side by side comparison is not easy but as I've said, most measurements are consistent enough; with a few exceptions - MOTU 828es and Eventide H8000FW differ the most. I will examine them in detail in separate post as they help to understand better how diffrograms and artifact signature work.

And yes, I did not want to publish the "alternative” list of df measurements here, this would be a mess for sure. I just want to show that difference measurements can produce much more valuable information about devices under test than a single (two for stereo) values. The results of such research for the devices from this thread can be easily found on soundexpert site.

Ready to answer your questions.

Both measurement results didier.brest's and mine can not be similar in any case because of the two main reasons:

(1) in df-metric the value of Df is a derivative of correlation coeff for two perfectly time aligned signals, so it does not depend on amplitudes (and DC-offsets) of both signals by definition; this is equivalent to the case when RMS amplitude of a difference signal is divided by RMS amplitude of the reference signal; the absolute difference of two signals depends on amplitudes of those signals (if we reduce both signals by 2, their difference is also reduced by 2); this is the reason why Df levels differ from didier.brest ones - they differ in the RMS level of the Original2 signal (L:-14.3dB/R:-13.5dB); this is not a problem as long as we use the same ref signal (of the same RMS amplitude), such absolute values are perfectly indicative of this signal degradation, but they can not be compared with similar measurements performed with another signal (of another RMS amplitude), they are less “universal” in this sense.

(2) in df-metric resulting Df value is a median of multiple Df values computed for 400ms chunks of a signal; if required Df can be computed for the whole signal and then it will be closer to didier.brest's value but such value is less informative because different parts of reference (music) signal are always degraded to different extent and a single value does not reflect this; computing multiple Df values for a signal has many advantages, for example - computing artifact signatures or visualization of distortion by means of diffrograms.

In simple words a diffrogram is a sequence of Df values:
- computed for a signal with some time window (400ms in most cases) and
- coded with colors - from red (heavy degradation) to violet (very small degradation)

For convenience such diffrogram is combined with spectrogram.

The first attachment is the diffrogram for (171) SPL Madison ---> PCM4222EVM (sorry for presentation of the images as attachments, I requested permission to post full images).

(171) Madison_EVM.wav(44)__Original2.flac(44)__mono_400-77.4194-71.0548-57.9201.png

It is 302px wide (302 x 400ms = 120800ms = 120.8s), each vertical bar of 1px width shows degradation of 400ms of signal (by color) and its spectral components (by luminosity of that color). Min, Median and Max Df values for the whole signal are indicated in file name. In-detail explanation of diffrograms is here - http://soundexpert.org/articles/-/bl...-of-distortion

For comparison here is the diffrogram for (129) Eventide H8000FW - the second attachment.

(129) Eventide8000FW.wav(44)_warp_LR_400.wav(44)__Original2.flac(44)__mono_400-84.2886-76.4993-41.9796.png

We can see that quiet parts of the signal (darker ones) are distorted more (greener) while loud ones (lighter ones) are distorted less (blueish). And though the resulting median Df (and mean Df also) of Eventide H8000FW is better than of Madison-EVM, the quiet parts of the H8000FW are distorted more seriously than any parts of the Madison-EVM; in other words the accuracy of ref file reproduction is varied more in H8000FW. Can we say that H8000FW is better than Madison-EVM? A big question.

This is the reason why such df measurements are more reliable with more and varied music material. In my research I use 2 hours of varied music and resulting distribution of df values is almost Gaussian, so median becomes a very good indicator of device performance.

Precision of my Matlab code, calibrated with white noise, is +0.3dB at Df=-100dB (and better at higher Dfs, +0.0008dB at Df=-50dB). As the computation is performed in time domain it is very intensive and slow. DeltaWave Audio Null Comparator is much faster (it operates in freq. domain) and Paul K. added my df-metric to it not so far ago.

We both, Didier.brest and I measure the same thing but in different ways and our results will always be different to some extent. I still think it is not a good idea to mix them in one thread. To be honest I don't see the best solution yet. At least I can continue to publish my “alternative” results in the corresponding soundexpert article .

As I'm not the only one who can process the uploaded files and derive some valuable/interesting info from them, it would be nice to have a common numbered list of these files for quick search and comparison of results. Please, didier.brest, can you number your list of results in some way? I will adjust my numbering accordingly (or you can use my numbering if easier). Thus your list with results and links to source files will serve as a reference. And one can use it for further research (I hope retention policy is long enough on Mediafire).

Every time when new output file is uploaded I will update my article too with new diffrogram and new point in similarity space. Those who are interested in will have opportunity to check how newly added device performs according to df-metric as well. Is it an appropriate solution?

For me it's a good chance to test the similarity space mechanism with multiple real DUTs, this will be helpful for my research; so, I want to thank didier.brest once again for keeping the source recordings.

Hi Serge,

You can copy my list, insert a numbering and publish it where it is convenient to you but please not in this thread that I would like being kept focused on simple results, still more simple in this last issue of the list of the results, rather than on evaluation methodology.

Just joined the thread. It's pretty massive. Can some one help me understand how does the loop back test work? Does the interfaces listed at the top means better accuracy compared to the ones down the list? I own a Motu 828ES and notice is below the 16A when given that they have the same guts. Why is that?