[LAU] 384kHz DAC - Monolith USB?

[Ede Wolf]

Thanks very much! It's not so much about narrower specs, no need for a 
p**** contest at this level, but about a company providing them at all 
and therefore kinda stick up to their product - instead of just going 
the marketing route with billions of bits, samplerate and 
theoretical/calculated dynamics.

As for most consumers the room and the speakers will more likely be the 
limiting factor. That of course shall not act as an excuse to produce 
sloppy.



Am 22.05.2018 um 20:31 schrieb David Kastrup:
> Ede Wolf <listac at nebelschwaden.de> writes:
> 
>>> Their analog circuitry around it is good and
>>
>> Well, the analog frontend is in fact the most critical component and
>> the one that requires most knowhow and enables RME to put out rather
>> complete specification. In comparrison at least.
>> F.e. I have not seen too many soundcards around that provide frequency
>> response as data, at least for selected products, though I happily
>> stand corrected - I am not married to RME at all and welcome
>> alternatives. Lynx does so as well, but has no linux support
>> afaik. Haven't checked focusrite f.e.
>>
>> Wether this data matters or not, may be up for debate and numbers make
>> no sound, but it should be mentioned.
> 
> Mackie Onyx Firewire Card manual:
> 
>      Onyx FireWire Card Specifications
>      Mic In to FireWire Card to DAW, routed back to FireWire Card to Control
>      Room Output; all signal path gain stages set to unity
>      Frequency Response
>      +0, –3 dB, 10 Hz to 42 kHz @ 96 kHz sample rate
>      +0, –1 dB, 10 Hz to 20 kHz @ 44.1 kHz sample rate
>      Distortion (THD+N)
>      < 0.025%, 10 Hz to 40 kHz, +4 dBu input @ 96 kHz sample rate
>      < 0.015%, 20 Hz to 20 kHz, +4 dBu input @ 96 kHz sample rate
>      < 0.010%, 20 Hz to 20 kHz, +4 dBu input @ 44.1 kHz sample rate
>      Dynamic Range
>      > 98 dB, 20 Hz to 20 kHz @ 96 kHz sample rate
>      > 100 dB, 20 Hz to 20 kHz @ 44.1 kHz sample rate
> 
>  From the Mackie Onyx 1620 manual:
> 
>      Onyx 1620 Specifications
>      Frequency Response
>      Mic Input to Main Output (Gain @ Unity)
>                +0, –1 dB, 20 Hz to 50 kHz
>                +0, –3 dB, <10 Hz to >100 kHz
>      Distortion (THD & IMD)
>      Mic Input to Main Output (@ +4 dBu)
>                THD: < 0.004%, 20 Hz to 20 kHz
>                SMPTE IMD: < 0.005% (7 kHz/60 Hz, 4:1)
>      Dynamic Range
>                >110 dB (Mic In to Main Out)
>      Noise Floor
>      (20 Hz to 20 kHz Bandwidth, 150Ω source impedance)
>      Equivalent Input Noise (E.I.N.)
>                –129.5 dBu @ +60 dB gain
>      Mic Output Noise:
>                Recording Output: –100 dBu (minimum gain)
>      Residual Output Noise:
>                Main Out: –102 dBu (Channel and Main Mix levels off)
>                Main Out: –88 dBu (Channel and Main Mix levels at
>                                                           unity)
>      Common Mode Rejection Ratio (CMRR)
>      Mic In:   >70 dB @ 1 kHz, Gain @ maximum
>      Crosstalk
>      Adjacent Inputs: < –105 dB @ 1 kHz
>      Mic Input to Main Output: < –87 dB @ 1 kHz
>      Input Gain Control Range
>      Mic In: 0 dB to +60 dB
>      Line In: –20 dB to + 40 dB, mono channels
>      Line In: –20 dB to +20 dB, stereo channels
> 
> [...]
> 
>      Output Impedance
>      Main:              150 Ω balanced, XLR outputs;
>                         300 Ω TRS outputs
>      Recording Outputs: 300 Ω
>      Control Room:      300 Ω
>      Alt 3/4:           300 Ω
>      Aux Sends:         300 Ω
>      Tape Output:       2.2 kΩ
>      Phones Output:     25 Ω
> 
> This is, of course, not primarily a "soundcard" but rather a
> semi-professional analog mixer with Firewire Interface.
> 
> Compared to the Hammerfall DSP Multiface:
> 
> AD
> • Auflösung AD: 24 Bit
> • Rauschabstand (SNR): 101 dB RMS unbewertet, 106 dBA
> • THD: < -100 dB, < 0,001 %
> • THD+N: < -92 dB, < 0,002 %
> • Übersprechdämpfung: > 100 dB
> • Frequenzgang AD @ 44,1 kHz, -0,5 dB: 5 Hz - 20,7 kHz
> • Frequenzgang AD @ 96 kHz, -0,5 dB: 5 Hz - 32 kHz
> • Eingang: 6,3 mm Stereoklinke, servosymmetrisch
> • Eingangsimpedanz: > 5 kOhm
> • Eingangsempfindlichkeit per Jumper: Lo Gain, +4 dBu, -10 dBV
> • Eingangspegel für 0 dBFS @ Lo Gain: +19 dBu
> • Eingangspegel für 0 dBFS @ +4 dBu: +13 dBu
> • Eingangspegel für 0 dBFS @ -10 dBV: +2 dBV
> 
> [...]
> 
> Stereo Monitor Ausgang
> • Ausgangspegel: +8 dBu @ 0 dBFS
> • Dynamik: 108 dB (RMS unbewertet, unmuted), 112 dBA
> • THD+N: -100 dB / 0,001 %
> • Übersprechdämpfung: > 110 dB
> • Frequenzgang DA, -0,1 dB: 20 Hz - 20,8 kHz (sf 44,1 kHz)
> • Frequenzgang DA, -0,5 dB: 10 Hz - 44 kHz (sf 96 kHz)
> • Ausgangsimpedanz: 75 Ohm
> 
> there is admittedly little doubt that the specs here are quite narrower.
> But microphones will be the limiting factor either way.  It's however
> irritating that something labelled as "headphone output" has an
> impedance of 75 Ohm and no pot.  The Multiface II has a pot here:
> possibly the impedance has also been lowered.  Not relevant in the
> recording/production chain, of course.
>