AD conversion come to Jesus talk

Luna already works "natively" without an interface but you need an interface to register it. That's what I was referring too. Be cool if you could buy it outright though.


Looking forward to hearing the latest clips John. Be keen to hear a Y split from the preamp out to the x8 and Buel if you ever get a chance....

I prefer the Burl clip to the Apollo as well, but it's not really a fair fight. Unless you're specifically trying to do a converter comparison with linearity and transparency in mind, the Burl is probably always going to win.

It has a transformer in the signal path and is doing obviously pleasing things that the Apollo can't, because it doesn't have a transformer and/or other intentionally colorful circuitry in the signal path. I prefer my 2192 to my Apollo x16 for the same reason, but that's no real surprise either.

It'd be a much more fair fight comparing the Apollo x6 to something like a Lynx Aurora (n) or any of the other multichannel interfaces in that same price range that are also basically just trying to provide transparent 1:1 conversion.

If you have a transparent set of converters, and desire color or smoothing or whatever, just add other pieces of equipment with transformers/opamps/tubes/whatever until you have it where you want it. Or use something like the Burl too, knowing that it isn't transparent and isn't trying to be.

I like having the option to have clean conversion too. Sometimes you might want that rather than something more colored liked the Burl or 2192. Either way, I don't think that comparing a relatively clean converter like the Apollo to an intentionally colored converter like the Burl really tells you a whole lot other than whether or not you happen to be a person who likes color in their signal chain.

Finally got around to listening to the A/B.

First off, both takes sound great Johnkenn. You make the Apollo sound better than I ever could. Granted, mine was a MKI. I have no experience with the MKII or X series units.

That said, the Burl just sounds better to me. Clearer, more musical, & more articulate. The Apollo isn't bad, but I hear the same midrange funk that made me resent my Twin MKI. This is very reminiscent of the comparisons I did between my Lavry vs. Apollo.

It's funny, because I also have a cheap Apogee Element, and I love the way that thing sounds. Not quite as nice as the Lavry, but still really good. So it's not really a matter of expensive vs. cheap for me. I'll probably get some flak for saying this, but I think the Apollos have a sonic "signature," and I personally dislike it.

For all those saying they can hear a difference between the two takes……


How about in the comped file….can you hear which is which in that?

Not implying people won't be able to tell (okay well a little bit 8)......)     .... but its certainly interesting how adamant people are... 

cheers

Wiz

And your goal is also to not second guess yourself in the future - if even part of your brain thinks the Burl is better, it’ll be hard to forget that thought if you no longer have the Burl.

The warmth the Burl provides is real. Less sibilance and a stronger low end.

Now that I have the BLA mod in my Apollo X6, it does make me wonder how similar the color options on a Dangerous Music 2 Bus + would sound.

I didn’t listen but over the years spent way to much time dealing with clocking. In small systems it seams to be more about “ sound “ than anything else. Well here is the thing about 1/2 the time if you put a scope on your various sources you find the one you find sounds best is the one with the most problems ( we like distortion we should just admit it). In large scale systems it’s about stability more than anything. Some of the better clocks were not designed for house sync purposes.
The best and least expensive clocking improvements, decent short cables and proper termination.

I've been wondering this myself as I've been using an old Black Lion Sparrow ADC for inputs for a long time. I haven't taken the time to test out the newer Apollo X or Burl converters but wondering if I'm missing anything since so much time has passed between the Sparrow ADC and now...

I'd also love to know which lines were which converter in that comped verse!

Yeah all true.

But it’s not a race to the bottom is it?

We could have a competition to see who can make a great sounding record on THE cheapest set-up.

“I’ll raise you your Arrow interface, I made this track with a Behringer $40 interface …. and my cousin Jeff can’t tell the difference …. beat that”

I don’t think it’s about Sam letting go, I think it’s about focus and ultimately budgets.

If you want a decent budget set-up these days there’s great sound quality to be had and then rightly, focus on the music.

And then there’s that other place to go where you’ve gone beyond that and you’ve had some budget available to explore the boutique gear and found there’s something special sonically to be gained that’s a thing in its own right and worthy of pursuit in the realms of mastery of sound.

Personally, I don’t see any difference between my desire to own Crane Song converters and monitoring controllers and buying my first Martin D-18, Gibson Les Paul or Tone King Imperial Amp.

In all my artistic endeavours, be it playing, writing or recording I’ve always tried to reach for the stars. Budget allowing.

Just a different perspective.

I don’t think it runs in direct multiples 10 x better or 5 x worse etc.

It’s more nuanced than that.

Plus, mostly with single mono sources it’s definitely harder to tell converters apart though those tiny differences definitely do build up if one’s arrangement are heavily layered.

For me personally the critical place I get the maximum value from my Crane song HEDD 192, and why I’d be reluctant to let it go, is processing stereo information for example mixing through it and mastering processing. It’s the ability of the converters to resolve stereo spacial information, the HEDD 192 definitely sounds wider and has more front to back depth than my RME Babyface Pro converters.

That’s if stereo even matters anymore

…. and sure, if I sold the boutique stuff, it wouldn’t stop me being creative and making music but whilst I have it - it’s fun to produce recordings with a minimum of sonic compromises.

I do get a little interested on the way back in after sending my stuff out for OB.

I can hear the difference between Cranborne and MOTU conversion but, really, not so much that I want to tie up two 500 racks on ADC. Who knows… maybe that’s a mistake.