Ede Wolf <listac@xxxxxxxxxxxxxxxx> 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.
