That's all fine, but this loopback test here does not measure THD+N, so it doesn't really matter how close the interfaces are in terms of THD+N.

This loopback test is very sensitive on the anti-aliasing/reconstruction filter of the AD/DA conversion and also on the DC filter of the AD conversion (if I understand it correctly).

So, many interfaces for "production" will use faster filters, which result in lower latencies - but will fare worse in this test. "Mastering" converters will often use slower filters. These fare better in this test, but have higher latency (which is not a problem in a mastering setting).

Don't fret too much about it. It's one data point among many and, especially in regards to the DC filter, probably doesn't make any audible difference. I see it more as an interesting nerdy thing.

If you have a Ultralite 5, there's no reason not be happy with it and if you plan on getting one, there's not many reasons not to get it (and those reasons are more in the area of driver stability, not sound quality).

Line out 1/2 > mic/line input 5/6 with gain pots all the way counter clockwise. Interested to see if this will result in much difference than level matching to 0db

https://www.dropbox.com/sh/3m27e89dk...bcu2rtAza?dl=0

Right but loopback shows Motu noise levels at -47dB

APx555 measurement shows THD+N (the total of noise plus distortion) at -113dB down

And that's for each DAC and ADC

Agree with your other points , which were all explained by RME's head of engineering a while ago. I can't find his posts on the loopback tests issues

It doesn’t show noise levels at -47 dB, it shows the difference between original and recording, which is mainly due to the above mentioned filters.

I guess you could say that it does include noise as well, but these levels are so low that they are irrelevant in this test.

Presonus Quantum 2626
-27.307151605 s, 19.7688 dB (L), 20.2733 dB (R), -44.3026 dBFS (L), -45.4364 dBFS (R)

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

Hello.
In this thread is presented some useful data that allow to estimate, qualitatively and quantitatively, in dB, difference between original 44.1k/24bit track and recorded one.

Using recording data that is available in this thread, I get some new information about difference between original and recorded files.

1. It was added Power spectrum of data difference.
It's important parameter, because of an average value of Signal Difference reproduce, first of all, low frequency (high energy) fluctuations. That's why average value of Signal Difference couldn't reproduce real difference in mid-high range spectrum of sound. Power spectrum is may to do this.

2. It was added intermodulation "Left-Right" channels difference between original and recorded sound data (averaged value and Power spectrum). Power spectrum of intermodulation difference allow us to estimate qualitatively resolution and quality of sound stage at mid-high range (1000-15000 Hz).

Parameters that are written above was obtained in self-made program "Signal Difference", LabVIEW-based.
Results of data postprocessing were systematized and available for downloading here: https://disk.yandex.ru/d/hDMbbRyBfqG4hw

Some data that produced by "Signal Difference" is different from data that is presented here Evaluating AD/DA loops by means of Audio Diffmaker. Make sure, that "Signal Difference" process data from *.wav files automatically, using the same algorithm for all data files.

Here it is audio samples played on Creative ZxR (in AIMP) and recorded by Cosmos ADC (in Ocenaudio):
1. Creative ZxR Headphone Out (Low level) to Cosmos ADC 44.1k/24bit: https://disk.yandex.ru/d/xKsY9-3TJLBdGQ
Difference between original and recorded data (AMV): Left channel: -37.3 dB; Right channel: -38.5 dB
Sample rate correction: Left channel: 1.0000450596; Right channel: 1.0000450821

2. Creative ZxR Coaxial Out to Cosmos ADC 44.1k/24 bit: https://disk.yandex.ru/d/O63ufbb2B7q8Ow
Difference between original and recorded data (AMV): Left channel: -42.0 dB; Right channel: -42.0 dB
Sample rate correction: Left channel: 1.0000449923; Right channel: 1.0000450019

Here it is audio sample played on Meizu HiFi DAC Pro and recorded by Cosmos ADC (in Ocenaudio): https://disk.yandex.ru/d/5iSjyWDfl6g7Iw
Difference between original and recorded data (AMV): Left channel: -46.8 dB; Right channel: -46.1 dB
Sample rate correction: Left channel: 0.9999971776; Right channel: 0.9999971679

Here it is audio sample played on Meizu 15 Lite and recorded by Cosmos ADC (in Ocenaudio): https://disk.yandex.ru/d/3y8MPm7nCmAQFg
Difference between original and recorded data (AMV): Left channel: -44.6 dB; Right channel: -44.8 dB
Sample rate correction: Left channel: 0.9999975496; Right channel: 0.9999975689

In the loopback test results reported in this thread there is no sample rate correction because DA and AD converters shall be driven by the same clock as indicated in the guidelines at the end of the list of the results.
It seems that your tests do not achieve this?

Yes, you are right. Clock of analog to digital and digital to analog converters were different during tests. It's impossible to use the same clocks of AD and DA converters on consumer sound card like Creative ZxR.

But it was interesting to compare in "real life" test Creative ZxR DAC (124 dB signal to noise ratio) with another DACs in this thread. By this reason clock correction was added to achieve playback synchronization and get some relative results in dBA.

With all the tests of various converters have you realized any trends of those converters performing well? Topology, configuration etc.

I looked at the top ranking converters and used DeltaWave which will generally tell you which DA/AD chains do what to the signals (especially if comparing multiple deltas). Some chains are better than others when it comes tophase linearity, some chains are more low-noise...

I find this test to be quite reliable. A friend recommended to me the merging anubis and Solaris from Dave Hill (the quantum ones) and yeah, they were quite fast, probably the fastest converters on the market still in terms of transient response but the sound was colored, kind of felt like a smiley curve on their D to A, which I proved with a phase out test that somehow it nulls out quite dramatically in the 3k range (more than any converter I've ever seen but goes high up in the low end and high end. Guess what people say about these converters, they love the high end low end on them, so I've settled with the Aurora (n) and it's incredible, also has a headphone amp that is equal to standalone ones that would cost you 1k+

Being the user of Aurora (n) and Anubis (Premium) I can say that Aurora is noisier, especially its headphone preamp. The mic preamps kinda smile in terms of EQ curve, but the line ins are more neutral. Anyway, overall Anubis isn't as neutral as Aurora - loop tests show that.

I run 32 channels of Aurora(n), don’t use Aurora preamps, love the conversion. Hate to say it, but I do not like the headphone outs, and use 4 Little Labs Monotors spread around the studio.

The headphone outs are just very clean, depends on what you are used sonically, some people prefer more character on the phone outs.

From the designer of the Monotor: "My design philosophy is to use minimum active circuitry in the signal path to bring the headphone to a respectable volume and command that headphone to be as transparent to the source as is possible. There is a reason a power amplifier makes a poor headphone amp. You don't put a dragster engine in a Porsche."

You're right, simply because of filters sometimes that differ from one converter to another but if it's the same converter with the same filter then it's quite helpful to determine how well it's doing the roundtrip.

My other gripe, coming to cherish this thread, is that people think when a converter's noise floor is low, it means it's more transparent, which is really not the case (Apollo X interfaces "appear to have" an incredibly low noise floor but are sonically in it's conversion very colored, probably good for tracking).

I have to say the thread for me has proven to be reliable. On the paper, the Merging Anubis and Crane song Solaris seemed 2019 / 2020 at that time to be the best, most transparent converters on the market, which audibly to me, based on listening testing them for 2 weeks (wanted to use the Anubis for passthrough and Solaris for monitoring), proved to be quite the opposite, I found them quite colored and hyped, especially the Crane song and yeah the numbers do represent that.

Both the Anubis and Solaris are still great converters though, I think they had the fastest transient response of a device I've ever heard and really had amazing 3k range clarity (meaning if analyzed, that area would phase out down to almost -90 dB) but from that point on they had to the lows and highs uneven character that went up on both sides like steep slopes. If somebody likes that it's fine but I prefer very linear converters which they didn't do for me.

List of the results updated with tests of Steinberg UR44C from SteveDanger, Fairlight SX-48 and Trinnov D-Mon from Deleted 86b59c6, Antelope Pure2 DA to Mytek Brooklyn AD from leolycra, Lynx Aurora(n) and Eventide H9000R from matpowel, RME ADI-2/4 Pro SE from pkane, Midas Venice F24 from Rez, RRME Fireface UFX III from bernelius, PreSonus Quantum 2626 from Fretch.

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)
matpowel: 0.0 dB (L), 0.1 dB (R), -78.4 dBFS (L), -79.1 dBFS (R)

RME ADI-2/4 Pro SE, DC filter=off, DA/AD filter=Sharp (pkane)
0.0 dB (L), 0.0 dB (R), -77.7 dBFS (L), -78.8 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)
Pro FS R Black Edition (Diegel)
- DA/AD filter Sharp, DC filter None, Dig. DC Protection ON: 0.1 dB (L), 0.1 dB (R), -37.9 dBFS (L), -39.2 dBFS (R)
- DA/AD filter SD Sharp, DC filter None, Dig. DC Protection ON: 0.1 dB (L), 0.1 dB (R), -37.4 dBFS (L), -38.7 dBFS (R)
- DA/AD filter Sharp, DC filter None, Dig. DC Protection OFF: 0.1 dB (L), 0.1 dB (R), -63.6 dBFS (L), -64.1 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: 8.0/1.0/0.1/0.0 dB (L), 8.0/1.0/0.1/0.0 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),
Diegel: -0.0 dB (L), -0.0 dBFS (R), -58.9 dBFS (L), -59.0 dBFS (R)
matpowel: 0.1 dB (L), 0.1 dB (R), -58.9 dBFS (L), -59.0 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 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)

Behringer WING (loicm from the French forum Audiofanzine)
TRS aux out to TRS aux in: -0.2 dB (L), -0.1 dB (R), -53.9 dBFS (L), -54.9 dBFS (R)
xlr out to TRS aux in: 0.9 dB (L), 0.9 dB (R), -48.3 dBFS (L), -49.9 dBFS (R)
TRS aux out to xlr in: 0.6 dB (L), 0.6 dB (R), -39.5 dBFS (L), -41.1 dBFS (R)
xlr out to xlr in: 0.3 dB (L), 0.3 dB (R), -39.4 dBFS (L), -41.2 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 (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)
Line out 31-32 to line in: 0.3 db (L), 0.3 dB (R), -44.1 dBFS (L), -45.2 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)
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)

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
Norm@gear: -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)

Yamaha Rio3216 first generation (thomasjacquot)
0.5 dB (L), 0.5 dB (R), -45.7 dBFS (L), -47.0 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)

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

PreSonus Quantum (spankjam)
-0.1 dB (L), -0.0 dB (R), -45.2 dBFS (L), -46.3 dBFS (R)

Yamaha CL5 (thomasjacquot)
OMNI OUT 0 dB, OMNI IN -2 dB: 0.9 dB (L), 1.0 dB (R), -45.2 dBFS, -46.2 dBFS
OMNI OUT -20 dB, OMNI IN +20 dB: 0.1 dB (L), 0.1 dB (R), -45.5 dBFS (L), -45.9 dBFS (R)

Fairlight SX-48 (Deleted 86b59c6): 1.0 dB (L), 1.0 dB (R), -45.1 dBFS (L), -46.4 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)

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)

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

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

PreSonus Quantum 2626 (Fretch)
line out 1/2 --> line returns 1/2: -0.3 dB (L), -0.3 dB (R), -44.9 dBFS (L), -46.0 dBFS (R)
line out 1/2 --> mic/line in 3/4: -0.2 dB (L), -0.2 dB (R), -43.8 dBFS (L), -45.0 dBFS (R)
line out 1/2 --> mic/line in 5/6 @ minimum gain: 19.8 dB (L), 20.3 dB (R), -44.3 dBFS (L), -45.4 dBFS (R)

M-Audio ProFire 2626 (cylens)
line out 1/2 --> line in -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)

Slate Digital VSR8 (j.c.t.)
8.2 dB (L), 8.2 dB (R), -43.3 dBFS (L), -44.4 dBFS (R)

RME Fireface UFX III (bernelius)
-0.6 dB (L), -0.6 dB (R), -43.2 dBFS (L), -44.4 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)

Trinnov D-Mon Master (Deleted 86b59c6)
5.9 dB (L), 5.9 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)

Steinberg UR44C (SteveDanger)
line outs 1L/1R to line ins 3 and 4: -1.000257222 s, 0.1 dB (L), 0.1 dB (R), -40.7 dBFS (L), -42.0 dBFS (R)
line outs 1L/1R to line ins 5 and 6: 5.5 dB (L), 5.5 dB (R), -37.2 dBFS (L), -38.5 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)

Midas M32R (AndG)
3.2 dB (L), 3.2 dB (R), -39.8 dBFS (L), -41.6 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)

Midas Venice F24 (rez)
direct outs 1+2 into line ins 3+4: 0.7 dB (L), 0.6 dB (R), -36.2 dBFS (L), -37.6 dBFS (R)
direct outs 1+2 into mic ins 3+4: 0.4 dB (L), 0.4 dB (R), -36.8 dBFS (L), -38.1 dBFS (R)
direct outs 15+16 into stereo line in 19+20: 0.7 dB (L), 0.5 dB (R), -41.5 dBFS (L), -42.9 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)

Rode AI-1 (faronorte)
0.6 dB (L), 0.5 dB (R), -33.5 dBFS (L), -31.6 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)

Zoom F8 (faronorte)
4.3 dB (L), 6.5 dB (R), -24.8 dBFS (L), -39.0 dBFS, left channel likely defective



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)

Fairlight SX-48 clocked by DAD AX32 (Deleted 86b59c6): 1.0 dB (L), 1.0 dB (R), -45.2 dBFS (L), -46.5 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)

Trinnov D-Mon Master clocked by DAD AX32 (Deleted 86b59c6): 5.9 dB (L), 5.9 dB (R), -42.3 dBFS (L), -43.7 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)

Midas DL16 clocked by Behringer WING (loicm from the French forum Audiofanzine)
0.4177 dB (L), 0.3888 dB (R), -39.4 dBFS (L), -41.1446 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 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)

Antelope Pure2 to Mytek Brooklyn ADC as master (leolycra)
4.2 dB (L), 4.2 dB (R), -64.7 dBFS (L), -66.1 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)

Lynx Aurora(n) as master ---> Eventide H9000R (matpowel)
0.3332 dB (L), 0.3374 dB (R), -51.2332 dBFS (L), -50.8816 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)

Lynx Hilo ---> Rupert Neve Designs MBC as master (drlex)
0.1 dB (L), 0.1 dB (R), -50.1 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)

Eventide H9000R ---> Lynx Aurora(n) as master (matpowel): -0.2 dB (L), -0.2 dB (R), -50.6 dBFS (L), -49.5 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 at 44.1 kHz (no external SRC) 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 (for validating or invalidating the one at the top of the list of the results), Pacific Microsonics Model One and Model Two, 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 Studio 192, iZ RADAR, Avid HD OMNI, Cranborne Audio 500R8, Fractal Audio Systems Axe-Fx III, Neve 88M, Sound Blaster X7, Focusrite ISA 428. Of course any other one welcome!

Question for pkane. The rme adi se is that stock or modded?

Completely stock. Measured right after I received a brand new unit.

Hi pkane,

From looking through the results, you’ve tested the ADI 2 and now, the ADI 2/4 Pro SE, which seems to perform even better. Are able hear a difference between the two also?

Can't hear any differences, but I still have both and use both in different systems for different purposes. I've not tried a head-to-head comparison, but I don't expect there will be anything obvious as both are well made and very transparent.

Thanks for confirming.

Has anybody done the Elektron Octatrack MKII yet? If not I will attempt to do this test myself. Am using OSX Ventura 13.5, hopefully there's a Mac option to the test.

Do you mean that you will provide a .aif instead of .wav audio file? It's OK.

Hello,
Midas M32R live xlr out xlr in
Digigrid IOX
Midas DL251 (48 Khz)

https://drive.google.com/drive/folde...LY?usp=sharing

-0.501413135 s, 2.3761 dB (L), 2.3832 dB (R), -39.9228 dBFS (L), -41.5603 dBFS (R)

-0.502636669 s, 2.7944 dB (L), 2.7867 dB (R), -37.0215 dBFS (L), -38.3859 dBFS (R)

To be added to the next issue of the list of the results
.
After SRC to 44.1 kHz here's the measurement result given just for information, not to be included in the list of the results:
-0.032511385 s, 3.4398 dB (L), 3.4188 dB (R), -40.0061 dBFS (L), -41.4895 dBFS (R)

Somebody run this through a burl please

There are two tests involving the Burl ADC in the list of the results:
Burl B2 Bomber DAC ---> Burl B2 Bomber DAC would be a nice add-on.

Yea, I liked the LIO-8>Burl. Burl DA & AD loopback with and without transformers would be a nice add-on.