Discussion in 'Digital: DACs, USB converters, decrapifiers' started by purr1n, Oct 26, 2018.
Ummmm, what studio monitors are you using?
Likely sc307 + ts110 (sub)
Not sure whether this is the case.
If you bypassed convert-2's attenuator, full scale output might be +22 dbu.
I've just found the followings in the eve audio webpage:
TS110 may accept that hot signal. But just hit the limit (max input = 22dbu based on dip setting -- page 9 of the manual). No idea whether or not protection circuit was activated with "some" headroom.
EV307 cannot accept. "The maximum input level is 8dBu, which corresponds to 5.78dBV (1.95Veff)." (EVE Audio FAQ) .. so very likely limiter (as protection) applied.
The ts110 accepts the signal and acts as a preamp that outputs the volume accordingly to the sc307. I switched the input sensitivity to +22dbu. Also no limiter was applied as the rings of the speakers start flashing when the protection circuit kicks in. If I put it the sensitivity +8dbu, any thing the convert2 puts out will have the protection circuit engaged and the rings will flash like crazy. Hope that clears up the confusion @Vtory
The FAQ is referring to max input according to calibration, which in Germany is typically 6dbU = -10dbFS. That means roughly 16dbU is the max.
The Convert 2's output can be set to as low as 18dBu at 0dbFS when the -14db calibration button is selected.
Digital signals cannot go past 0dbFS.
Yes, it's extremely confusing. Pro audio infers max inputs from calibration "dBU" figures, of which the calibration is different from region to region or industry to industry.
Thanks! I wasn't sure what dbfs calibration on the front panel exactly means. Now that mostly clarifies my confusion.
The -14db, -16db, and -18db on the panel which corresponds to a max output of +18dBu, +20dbU, and +22dbU respectively for a 0dbFS signal.
The -14db calibration means -14dbFS at 4dbU. There are standards for each sub-industry / region (US broadcast, EU, film post-production, audio production), but no one standard for all. It's highly annoying.
It’s also different for different gear and daws. “Line level” gear without output calibration can be tough to use sometimes
@Cellist88 : which clock did you use? The Convert-2 clock in grumpy select-bitrate-every-song mode; or the computer clock mode?
the master clock mode....where it blinks like a terminator and you have to manually select the bitrate.
Hrmmm.. your review surprised me. I expected to also find the timbre off since I’m obsessed with timbre and yet I think Convert-2 does a very good job. I’m not a musician like you are so I trust you, but now I’m curious about this magic Yggdrasil of yours.
CV2 sometimes sound hyper-real and hyper-clean. While CV2 resolve small volume gradation and/or busy transience changes amazingly well (maybe too well), it did not resolve the gradation of "ugliness" and "laziness" to the same extent. There seems to exist some trade-off between the former and the latter.. at least in the context of digital sources. Ygg2 outdoes the latter (at a cost of some loss in the former) overall sounds more resolving, complicated (in a good sense), therefore more life-like. Maybe great TTs may do both at higher levels.. but I digress -- TTs I've heard just showed too much variation to generalize (from much fucker to damn greater than good digital lol).
Anyway using marv's analogy of Bordeaux vs Burgundy again, Ygg2 is more like Château Latour 2003 and Convert 2 is like Frog's leap cab 2015: both are great to me regardless of their actual prices.. but having different "continuum" of greatness.
@purr1n try looking into Corbières. You might find something interesting from there.
*Hears gear that can reproduce PRAT and stage on the recordings. Dislikes the PRAT and stage on the recordings* Noice!
Wine comparison is fun as then I can say, "AGD is MD 20/20", but in truth the analogy makes little sense given that some gear is much more colored in different areas than others and it breaks down beyond boxed wine, bum wine, and wine for white women. A better analogy is strongly flavored sauces or drinks hiding the taste of food. If you don't like what the food tastes like and want to use A1 or Sriracha be my guest. Taste is taste but it must be acknowledged that the overwhelming taste of the sauce is not the taste of the food. Whining, overdone white chicks wouldn't be able to take the vin rouge that middle-aged French dirtbag winos in polar fleece get shitfaced on or the retsina that old Greek farts chug out of tumblers.
All of you need to step back from the keyboard and knock back a sixer of Budweiser.
^ That only applies to shitty gear from select AGD pieces where the overwhelming goo covers up the shit underneath it (or the shitty goo covers up what small ingredients might be good in it). We are not talking about shitty gear in this thread.
This is different from "@Psalmanazar only likes Michelob, and everything else that does not have the same sweetness, bitterness, and nose is wrong".
Depends. Schiit multibit drenches some items on the plate in heavy creme sauce. Dangerous adds salt and a dab of Sichuan chili oil. AGD is putting ketchup on spaghetti with mint tea. The ODAC burns your taste buds off with unfiltered cigarettes and then warms you up with a few shots of Listerine.
Glassware that lets you taste, smell, and see the Michelob would be better analogy too. Some stuff is a drinking straw or sippy cup. Other stuff is a German liter glass that dissipates the odor.
No need to abandon the computer and drink urine from a can all in one swoop!
Well, a lot of people on this forum are listening to the audio gear equivalent of Budweiser... and liking it. So... to each their own.
Dude. Please quit because you sound like a broken record and are adding nothing to the thread.
Yeah, we get it. Schiit is rich like cake. ODAC is like Taco Bell Fire sauce + moonshine. Dangerous Source is like the finest balanced braised quail from Michelin star restaurant.
Separate names with a comma.