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Gigio
 
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I need some advice about a digital converter.
I record classical music, mainly with a stereo setup, never using
multitracking.
I've just had the occasion to buy a used Millenia HV-3B to use with mics
(Schoeps and Neumann).
At the moment I usually record on a dat machine (SONY) and on a cd recorder
(Tascam), using my Prism AD 124
Since I'm going to use a Tascam DV-RA 1000 (that record on dvd in wav format
at 24/192 ) I'm thinking about changing my d/a converter, becaus my prism
can convert only at 24/48
I can't affor at the moment a new Prism a/d 2, so I'm wondering if something
like a RME ADI2 can help me to improve the general sound of my recordings or
it's better my 'old' prism, recording at 24/48.

Thanks,


Diego


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Scott Dorsey
 
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Gigio wrote:
I need some advice about a digital converter.
I record classical music, mainly with a stereo setup, never using
multitracking.
I've just had the occasion to buy a used Millenia HV-3B to use with mics
(Schoeps and Neumann).
At the moment I usually record on a dat machine (SONY) and on a cd recorder
(Tascam), using my Prism AD 124
Since I'm going to use a Tascam DV-RA 1000 (that record on dvd in wav format
at 24/192 ) I'm thinking about changing my d/a converter, becaus my prism
can convert only at 24/48
I can't affor at the moment a new Prism a/d 2, so I'm wondering if something
like a RME ADI2 can help me to improve the general sound of my recordings or
it's better my 'old' prism, recording at 24/48.


The ADI-2 is a big step down from the AD-124.
If you have top-grade converters for 44.1, and you can't afford top-grade
converters for 96, why not just stick to 44.1 for now?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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Gigio
 
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Thanks Scott!
I wanted just to be sure that 24/44.1 with Prism was better than 24/192 with
rme ADI2!

Thanks again.

Diego


..

The ADI-2 is a big step down from the AD-124.
If you have top-grade converters for 44.1, and you can't afford top-grade
converters for 96, why not just stick to 44.1 for now?
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."



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Scott Dorsey
 
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Gigio wrote:
I wanted just to be sure that 24/44.1 with Prism was better than 24/192 with
rme ADI2!


Try it and see just for yourself. I think you'll be very happy with keeping
the Prism.

You might consider something in-between, though, like the mid-range Lavry
converters.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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Pooh Bear
 
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Gigio wrote:

I need some advice about a digital converter.
I record classical music, mainly with a stereo setup, never using
multitracking.
I've just had the occasion to buy a used Millenia HV-3B to use with mics
(Schoeps and Neumann).
At the moment I usually record on a dat machine (SONY) and on a cd recorder
(Tascam), using my Prism AD 124
Since I'm going to use a Tascam DV-RA 1000 (that record on dvd in wav format
at 24/192 ) I'm thinking about changing my d/a converter, becaus my prism
can convert only at 24/48
I can't affor at the moment a new Prism a/d 2, so I'm wondering if something
like a RME ADI2 can help me to improve the general sound of my recordings or
it's better my 'old' prism, recording at 24/48.


Extra high sampling rates will recreate frequencies you can't hear.

Is that something you need ?

Graham



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Scott Dorsey
 
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Pooh Bear wrote:
Gigio wrote:

I need some advice about a digital converter.
I record classical music, mainly with a stereo setup, never using
multitracking.
I've just had the occasion to buy a used Millenia HV-3B to use with mics
(Schoeps and Neumann).
At the moment I usually record on a dat machine (SONY) and on a cd recorder
(Tascam), using my Prism AD 124
Since I'm going to use a Tascam DV-RA 1000 (that record on dvd in wav format
at 24/192 ) I'm thinking about changing my d/a converter, becaus my prism
can convert only at 24/48
I can't affor at the moment a new Prism a/d 2, so I'm wondering if something
like a RME ADI2 can help me to improve the general sound of my recordings or
it's better my 'old' prism, recording at 24/48.


Extra high sampling rates will recreate frequencies you can't hear.

Is that something you need ?


For LP transcription it can be, since those frequencies contain noise
that help declicking algorithms key on the exact width of an impulse.

For live recording, I think the jury is still out on whether ultrasonic
reproduction helps any. It clearly doesn't help a whole lot if any.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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Stephan Flock
 
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Scott,

with all due respect, I don't think it is justified to say the ADI-2 is a
big step down from the AD-124.

Both units have their own special features (like DRE and SNS for the Prism,
SteadyClock PLL and 96/192 kHz for the RME).

If you compare the technical specs of the a/d for instance, the AD-124
manual says -120dBFS unweighted idle noise, whereas the ADI-2 has -110dBFS.
But THD+N is -98dB for the Prism (@ 1kHz, -1dBFS), and -104dB for the
ADI-2.

The Prism manual doesn't state anything about the unit's analogue
performance when synced externally, possibly with jittery clocks - maybe for
good reason?

If you haven't listened to an ADI-2 with SteadyClock jitter reduction yet,
it might well be an ear-opener to do so. You can contact me, if you want me
to arrange something for you.

Kind regards,
Stephan Flock
RME


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Pooh Bear
 
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Scott Dorsey wrote:

Pooh Bear wrote:
Gigio wrote:

I can't affor at the moment a new Prism a/d 2, so I'm wondering if something
like a RME ADI2 can help me to improve the general sound of my recordings or
it's better my 'old' prism, recording at 24/48.


Extra high sampling rates will recreate frequencies you can't hear.

Is that something you need ?


For LP transcription it can be, since those frequencies contain noise
that help declicking algorithms key on the exact width of an impulse.


I can see the logic in that.

For live recording, I think the jury is still out on whether ultrasonic
reproduction helps any. It clearly doesn't help a whole lot if any.


How about 44.1 vs 48 ?

Graham

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Scott Dorsey
 
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Pooh Bear wrote:
Kludge writes:
For live recording, I think the jury is still out on whether ultrasonic
reproduction helps any. It clearly doesn't help a whole lot if any.


How about 44.1 vs 48 ?


I think it's pretty academic these days. On a lot of earlier machines, like
the SV3700 for instance, there were audible differences between 44.1 and 48,
but these days if there are any differences they are minimal.

On the other hand, SRC is still sometimes audible. So I think it's definitely
worth recording at whatever rate you're intending on releasing at.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
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