signaltonoize.com

---

So i wanted to know exactly what my A/D D/A, interfaces, console, & other gear were actually doing to my audio.
I wanted to know how differently my interfaces performed @ different samplerates. I also wanted to see how my analog console/bus comp effected response as well.
Using RightMark Audio Analyzer 6.2.1 PRO I ran calibrated loopback tests.
Some of you might find the results interesting.

If others would like to analyze any of there gear, Download these files. Use the tone to calibrate i/o levels. Create a loopback recording thru the gear & send me the recorded file. I’ll post the results.

Test Files
Test signal (44 kHz 24-bit).wav
Test signal (48 kHz 24-bit).wav
Test signal (96 kHz 24-bit).wav
16BIT48KHZ1KSINEWAVE.wav

Edit: Updated 1-20-09
Results – Click links for full Comparisons

DigiDesign 192 @ 44100
DigiDesign 192 @ 48000
DigiDesign 192 @96000
Have to say the Stock 192′s perform pretty well.
————————————————-

DigiDesign 888/24 @ 44100
DigiDesign 888/24 @ 48000

————————————————-

Lynx Aurora 8 @ 44100
Lynx Aurora 8 @ 48000
Lynx Aurora 8 @ 96000

Performed great.
————————————————-

Lynx L22 @ 44100
Lynx L22 @ 48000
Lynx L22 @ 96000

————————————————-

Lynx L22 vs TC Konnekt 24d @ 96k

Lynx L22 vs TCk24d vs Digidesign 888/24 @ 48k
Surprising how good the 888 D/A actually is. After more testing It’s the A/D thats crap not the D/A.

Lynx L22 vs TCk24d vs MBox @ 44100

————————————————-

M-Audio Audiophile 2496 @ 44100
M-Audio Audiophile 2496 @ 48000
M-Audio Audiophile 2496 @ 96000

————————————————-

M-Audio Delta 1010 @ 96k

————————————————-

Metric Halo Mobile I/O 2882 with 2D @ 44100
Metric Halo Mobile I/O 2882 with 2D @ 48000

————————————————-

AMS-Neve MIOS @ 48000

————————————————-

TC Konnekt24D @ 44100
TC Konnekt24D @ 48000
TC Konnekt24D @ 96000

————————————————-

TC Studio Konnekt 48 @ 44100
TC Studio Konnekt 48 @ 48000
TC Studio Konnekt 48 @ 96000

————————————————-

Layla3G 3-4 Out 1-2In No Pre.htm
Layla3G 34IO 2444.htm
Layla3G 34IO 2448.htm
Layla3G 34IO 2496.htm Layla3G 34IO 3244.htm

————————————————-

Analog Gear in question = MXP-390 console, 390 with DomII bus comp, & the RNLA

————————————————-

Let me bring up some technical facts of what actually happens @ different samplerate / Bit depths. There really isn’t any voodoo involved.
You have to break it down into stages.

Part One.
SampleRate in regards to your hardware(Your A/D D/A’s)
The available digital frequency response = 1/2 the sample rate.
So keep this chart in mind
44,100hz = 22.050hz
48,000hz = 24,000hz
88,200hz = 44,100hz
96,000hz = 48,000hz

Now lets say we want to have clean 20-20,000hz recording capabilities. This is what most A/D D/A’s strive for.
All A/D’s use filters on there inputs.
If you are recording @ 44,100hz and are trying to get a clean 20-20,000hz the filter only has 2.05k of bandwidth to do the cutoff. This is extremely tight & near imposable to do transparently. Most A/D’s will cut into the audible realm @ 44,100.

Changing to a higher samplerate allows the A/D D/A’s filter to have a more graceful cutoff slope & get out of the audible range.
44.1k gives the filter 2.05k of bandwidth
48k gives the filter 4k of bandwidth
88.2k gives the filter 24,100k of bandwidth
96k gives the filter 28,000k of bandwidth

This is the main reason to record with higher rates @ the hardware level.

Part Two
SampleRate in regards to processing DSP/Plugins

With added frequency bandwidth you get a few benefits. More natural EQ/filter slopes, less audible aliasing/distortion.

EQ Example
filter slopes extend out based on the Q&gain setting. If you boost the high end @ 44,100 the slope can slam into the 22.050hz limit & not be able to extend out into it’s desired range. = harsh slope. With higher rates filter slopes can extend naturally
Here are some charts of pink noise being played thru an digital EQ with a 16k boost @ 48K & 96K with the exact same settings.

48k=

96k =