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skidmorebay

Tin Man

Posts: 29 Member Since: 07/08/2015

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Apr 19 17 8:52 AM

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I'm still crawling towards establishing my mastering startup. It's my get rich slow plan.
I'm looking at converters within my budget lately. Does anyone have experience comparing any two of these converters? I am interested to hear your observations.
Lavry blue
Mytek Stereo96 and 196
Prism Lyra2, Titan, or Orpheus

I'm looking to start with 2 channels of AD and four channels of DA. I'll take an AES out and run it through my Symphony I/O mk I into the computer. Are there any others in this range (sub-$4k) I should really consider, and that would be a step up from my Apogee?

Last Edited By: skidmorebay Apr 19 17 9:20 AM. Edited 1 time

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waltzmastering

Platinum Blonde

Posts: 1,665 Member Since:02/02/2011

#2 [url]

Apr 20 17 9:12 AM

I shot out the Lavry Blue and the Mytek 8x192 about 10 years ago and turned into a Mytek convert.
Have since gotten the firmware and upgrade for the 8x192 and use the Stereo192-DSD for DAC.
I think Mytek and Prism would be a good match up, but it seems converter choice, like controller, speaker and power choice
gets personal where you really have to hear out it integrates with the rest of the chain and your expectations. gl

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skidmorebay

Tin Man

Posts: 29 Member Since:07/08/2015

#3 [url]

Apr 20 17 3:53 PM

Interested to hear the good review of the Mytek. They are comparatively inexpensive in relation to many common options. Since my first post, I've taken a serious look at the Dangerous Convert. There is only one review (from Tape Op), but it is more than glowing. 
I've almost always used Apogee converters. I have a feeling that my preference would be some sort of "super-Apogee," if that were possible...
 

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waltzmastering

Platinum Blonde

Posts: 1,665 Member Since:02/02/2011

#4 [url]

Apr 21 17 8:31 AM

Along with the Blue and Mytek we also a/b'd with the best that Apoggee had out at that time (forget_maybe X), and I remember them having a signature sound.

Mytek does seem to have a good bang for the buck ratio and also have the newer Brooklyn and Manhattan.
The market seems pretty flooded with decent converters for loop and monitoring along with  the ones already mentioned.... Cranesong, Forssel, Hilo, Weiss, Bricasti, etc gl

Last Edited By: waltzmastering Apr 21 17 8:32 PM. Edited 1 time.

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jerry tubb

Gold Finger

Posts: 656 Member Since:06/02/2011

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Jun 5 17 9:03 AM

we recently purchased an Antelope Pure2 which has gotten excellent reviews, mainly for its ADC which can really take a beating!

its a little heavy on the USB Marketing features, but overall i'm liking the sound of it, really good clock on board.

great clarity, especially vocal range and HF transient info.

the only drawback for me is that you can't run the DAC & ADC at different Fs (unlike the Lavry Blue).

i was ready for a different flava of ADC, although totally happy with the Lavry I've used for over a decade, which sounds smooth and warm.

Dan got it right on that one.

Next I'll try the Crane Song Solaris DAC which has been getting accolades from power users.

new generation of convertors out there has stimulated my curiosity.

it's a truly great mastering forum we have here, but there are few posts lately (as contrasted to GS) so i'm stimulating some action.

best, jt

Last Edited By: jerry tubb Jun 5 17 9:07 AM. Edited 1 time.

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podgorny

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Posts: 2,341 Member Since:27/01/2011

#6 [url]

Jun 5 17 11:01 AM

+1 on Benchmark. Especially the DAC2. 

I have an Antelope DAC. I think it sounds decent, but I cannot recommend it, as Antelope seem to have a tendency to abandon products. 
 

Kyle Mann :: www.kylemann.com

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silvertone

Aqua Marine

Posts: 2,777 Member Since:26/01/2011

#8 [url]

Jun 6 17 7:21 AM

Cranesong HEDD here, shot out many since, HEDD remains, great AD and DA from the get go.

No software does what Dave's tape, pentode and triode knobs do. When they work on the given program material the results are quite amazing... that said, it certainly doesn't help some program material at all. Whatever works!

Silvertone Mastering, celebrating 28 years in business.

www.silvertonemastering.com

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jerry tubb

Gold Finger

Posts: 656 Member Since:06/02/2011

#9 [url]

Jun 6 17 10:51 AM

i suppose as long as you & your clients are happy with the sound of your convertors, then it's all good.

i've had the itch to try something different for a couple of years, hence the Antelope acquisition.

not sure that any producers or labels are perusing any MEs gear lists, looking for the ultimate DAC/ADC path.

more about the final result, and if it sounds good, and translates, and of course how super-loud it is :~)>

best, jt

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gold

Platinum Blonde

Posts: 1,517 Member Since:27/01/2011

#10 [url]

Jun 6 17 2:37 PM

My Prism AD2 was very unhappy this morning. The front panel lights all looked good but it wasn't seeing input. I got some hash at the output at one point but mostly nothing. I switched over to the Lavry Blue AD. I haven't used it in years. Sounds good to me. No obvious quality loss althought todays projects wouldn't point out subtle diffences, ahem. It can get hot in here so I'm going to let the AD2 rest, then reset it and hope for the best.

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skidmorebay

Tin Man

Posts: 29 Member Since:07/08/2015

#11 [url]

Jun 7 17 8:38 AM

After starting this thread as I was shopping for converters, and being attracted to some very good deals, I wound up getting a Prism Lyra2, and a Burl B2 ADC. 

Listening with the Prism DA is definitely a much more immersive experience than listening on the Apogee Symphony I/O I've used for years. I'll probably use the Burl for the most part on material that I mix. It is not at all transparent, but does add a really pleasing thickness to material, and softens the highs, to my ears. 

Routing with this setup is a little complicated. I manually re-patch if I want to use the Burl. The Lyra2 is nice in that it has two DA's and one AD. Unfortunately, there is only one stereo AES input. I would love it if there was an AES input for each DA. I'm using the AES card on my Apogee to go between the computer and Lyra. The path I have been using is DAW>AES to DA1>Analog Chain>AD>DAW track, record armed and on input monitoring>Apogee ADAT/SMUX>DA2>Monitors. Maybe there's a better way... This allows me to monitor my capture, but I have to use ADAT/SMUX to talk to the second DA, which I'm not happy about. I've read that Toslink cables are more prone to jitter than AES. 

I can avoid a lot of this by using the Lyra2 as the sole interface via USB. Right now I'm using it like this because I've been doing a lot of mxing, and keeping the Apogee in the loop allows me to use it's 16 channel analog section for hardware inserts on individual tracks in a mix. 
I recently got an older Z-Sys 8.8 Detangler which I hope will streamline a few things once I get it installed. 

I'm figuring this out as I go (digital signal routing)... please advise if I've completely put the cart before the horse! Eventually I want to arrive at an efficient workflow for mastering only, which easily allows me to listen to the processed master, the unprocessed source (level matched), and to audition the Prism or Burl ADC on the processed master. I have a very clean DIY passive monitor controller with four analog inputs, but no digital section. 

Did I mention that I'm in Alaska? There's no one to talk to about this out here on the frontier... This forum has been very useful. 

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gold

Platinum Blonde

Posts: 1,517 Member Since:27/01/2011

#12 [url]

Jun 7 17 11:06 AM

I hardly ever cream the AD input but I have an ongoing hip hop project that I've been doing that for. I hope the Blue can take it or I might be in trouble.

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silvertone

Aqua Marine

Posts: 2,777 Member Since:26/01/2011

#13 [url]

Jun 7 17 1:31 PM

skidmorebay wrote:
After starting this thread as I was shopping for converters, and being attracted to some very good deals, I wound up getting a Prism Lyra2, and a Burl B2 ADC. 

Listening with the Prism DA is definitely a much more immersive experience than listening on the Apogee Symphony I/O I've used for years. I'll probably use the Burl for the most part on material that I mix. It is not at all transparent, but does add a really pleasing thickness to material, and softens the highs, to my ears. 

Routing with this setup is a little complicated. I manually re-patch if I want to use the Burl. The Lyra2 is nice in that it has two DA's and one AD. Unfortunately, there is only one stereo AES input. I would love it if there was an AES input for each DA. I'm using the AES card on my Apogee to go between the computer and Lyra. The path I have been using is DAW>AES to DA1>Analog Chain>AD>DAW track, record armed and on input monitoring>Apogee ADAT/SMUX>DA2>Monitors. Maybe there's a better way... This allows me to monitor my capture, but I have to use ADAT/SMUX to talk to the second DA, which I'm not happy about. I've read that Toslink cables are more prone to jitter than AES. 

I can avoid a lot of this by using the Lyra2 as the sole interface via USB. Right now I'm using it like this because I've been doing a lot of mxing, and keeping the Apogee in the loop allows me to use it's 16 channel analog section for hardware inserts on individual tracks in a mix. 
I recently got an older Z-Sys 8.8 Detangler which I hope will streamline a few things once I get it installed. 

I'm figuring this out as I go (digital signal routing)... please advise if I've completely put the cart before the horse! Eventually I want to arrive at an efficient workflow for mastering only, which easily allows me to listen to the processed master, the unprocessed source (level matched), and to audition the Prism or Burl ADC on the processed master. I have a very clean DIY passive monitor controller with four analog inputs, but no digital section. 

Did I mention that I'm in Alaska? There's no one to talk to about this out here on the frontier... This forum has been very useful. 

One of my most valuable tools is my mastering console and in particular the input monitor offset knob on that console. How do you offset the unmastered signal so you can A/B what you are doing with your mastered signal?

A dedicated mastering console would solve every dilemma you mention above.  Dangerous, Cranesong or Crookwood are highly recommended. 

Best of luck.

Silvertone Mastering, celebrating 28 years in business.

www.silvertonemastering.com

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gold

Platinum Blonde

Posts: 1,517 Member Since:27/01/2011

#14 [url]

Jun 7 17 11:56 PM

Today I did an album that was open sounding and mostly acoustic guitar and vocal. I miss the Prism.  

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