You have been here for just some few years.
You're very far from a long timer
This forum started in 2004, someone that joined in the end of 2018 is still a new member.
Focusrite Scarlett 2i2 (2017 model) dead line out
- Thread starter ruffrecords
- Start date
Help Support GroupDIY Audio Forum:
You have been here for just some few years.
You're very far from a long timer
This forum started in 2004, someone that joined in the end of 2018 is still a new member.
Ricardus
WILL SOLDER FOR FOOD
Who the hell do you think you are? God? You make the rules around here?
To quote Homey the Clown.
I DON'T THINK SO.
Ricardus
WILL SOLDER FOR FOOD
It's elitist BS gate-keeping like this that makes people see this and not want to join the forum.
I don’t see any elitist behaviour around here (forum) ,neither in this thread.
What I see is people sharing knowledge, and be courteous and polite to each other.
Actually the only “Elitist” behaviour was yours when you considered your few years in this community “many” years. It seems you were putting yourself in some sort of Elitist group of people made up by yourself.
I will not continue any change of arguments with you. My friendly advice to you was already given, unfortunately you didn’t get the message, but maybe in the future you will
Gotta say Ian, with all that nice valve gear of yours, you really deserve to pick up something better than a Focusrite interface. It's like pouring champagne in a milk-glass 
Get yourself something like an RME Babyface if you want something small and portable, but heaps better in every way than the focusrite.
Get yourself something like an RME Babyface if you want something small and portable, but heaps better in every way than the focusrite.
Gotta say Ian, with all that nice valve gear of yours, you really deserve to pick up something better than a Focusrite interface. It's like pouring champagne in a milk-glass
Get yourself something like an RME Babyface if you want something small and portable, but heaps better in every way than the focusrite.
How are you defining "better" in this context ?
I get that. But it was a genuine question. I've worked with and had a professional interest in audio conversion technology and manufacturers previously. There are considerations eg wrt jitter rejection that may or may not be relevant in a given situation. And I think there may be issues related to the output levels of the Focusrite products.More expensive-er is more better-er! Obviously...
But yes simply equating more expensive with better is flawed. So many other factors go into the cost.
tbh I'm probably more bothered by the software side wrt OS comparability, drivers and support.
ruffrecords
Well-known member
I have several interfaces that I use for different jobs. One of the difficulties, from the measurmenet point of view, is finding interfaces with high sample rates that actually are flat over the equivalent bandwidth. It is amazing how many cut off at 22KHz no matter what the sample rate. Totally useless if you want to measure out to 48KHz and beyond.Gotta say Ian, with all that nice valve gear of yours, you really deserve to pick up something better than a Focusrite interface. It's like pouring champagne in a milk-glass
Get yourself something like an RME Babyface if you want something small and portable, but heaps better in every way than the focusrite.
At the moment I have two Scarlett 2i2, Tascam US- 2x2 HR which does have an analogue bandwidth extending beyond 20KHz at high sample rates, a Komplete Audio 2 and a Behringer UMC202.
Cheers
Ian
k brown
Well-known member
Famed Classical recording engineer Tony Faulkner recommended the Sapphire (in it's time) for those getting into Classical recording; doubt he would have bothered to do so if it wasn't capable of stellar results.
Now if you want a preamp to produce 'euphonic coloration' (many do), that's an entirely different story.
Now if you want a preamp to produce 'euphonic coloration' (many do), that's an entirely different story.
Honestly won't comment too much on quality of conversion as much as quality of drivers. I've owned M-audio (1010LT), Focusrite Saffire (firewire version), SSL MX4 and RME Babyface Pro, and I worked in a studio shop for years having setup countless usb-soundcards with computers over the years. And there is so much crap in the lower end of the spectrum it's ridiculous. Both my RME and SSL are rock solid, never had a single dropout while playing live etc. They just work. For years on end.
I would argue there is a difference in AD/DA quality (and surrounding electronics) too, but having done no measurements I won't comment on it, as any difference is pretty small these days. I would find it odd if my higher end cards cap the frequency at 22.05k no matter the samplingrate... but again haven't actually measured it so won't claim either way. But it's odd to me to cumulate a recording chain worth 3-10k $ in analog equipment just to end up in a 100$ interface.
I would argue there is a difference in AD/DA quality (and surrounding electronics) too, but having done no measurements I won't comment on it, as any difference is pretty small these days. I would find it odd if my higher end cards cap the frequency at 22.05k no matter the samplingrate... but again haven't actually measured it so won't claim either way. But it's odd to me to cumulate a recording chain worth 3-10k $ in analog equipment just to end up in a 100$ interface.
k brown
Well-known member
Guess I've been just plain lucky.
Coutless hours of rough-and-tumble location recording with my (now ancient) Saffire Pro 14 and Scarlett 8i6, and not a single dropout or malfunction of any kind. I don't know if it's because I'm always using a (also now ancient) Mac or what, but -
"They just work. For years on end."
Coutless hours of rough-and-tumble location recording with my (now ancient) Saffire Pro 14 and Scarlett 8i6, and not a single dropout or malfunction of any kind. I don't know if it's because I'm always using a (also now ancient) Mac or what, but -
"They just work. For years on end."
My understanding is that modern (the latest generation at least) interfaces use chipsets that don’t rely on analog anti-aliasing filters. Instead they convert using DSD at 5mHz or higher. Once the signal is digitized it is converted to the requested PCM SR and bit depth via digital decimation filters.
So the audio should contain content up to Nyquist unless there are bottlenecks before the converter, like mic or preamp limitations/filters. Possibly, some interfaces filter high freq to reduce intermodulation artifacts.
I have found some plugins, notably some Manley UAD plugs, always sample at 48khz or lower, regardless of the sample rate of the session. I was told a few years ago that this was the best way to ensure sonic quality without excessive cpu usage. The plugins do sound excellent, so who’s to complain, except the client who might wonder about a frequency-limited mix or master.
Outside of testing purposes, I don’t see any benefit to recording or mixing at sample rates above 48kHz and, instead rely on oversampling DSP processors to minimize distortions in the audio. But, I’m always open to other opinions and experiments in this matter
The sound quality of modern interfaces reall, comes down to the analog design, power supply, and emi considerations of the physical device.
I use low-cost interfaces for acoustic and electronic measurements, especially in my portable kit, but I choose recording and monitor interfaces based on listening tests and integration considerations.
So the audio should contain content up to Nyquist unless there are bottlenecks before the converter, like mic or preamp limitations/filters. Possibly, some interfaces filter high freq to reduce intermodulation artifacts.
I have found some plugins, notably some Manley UAD plugs, always sample at 48khz or lower, regardless of the sample rate of the session. I was told a few years ago that this was the best way to ensure sonic quality without excessive cpu usage. The plugins do sound excellent, so who’s to complain, except the client who might wonder about a frequency-limited mix or master.
Outside of testing purposes, I don’t see any benefit to recording or mixing at sample rates above 48kHz and, instead rely on oversampling DSP processors to minimize distortions in the audio. But, I’m always open to other opinions and experiments in this matter
The sound quality of modern interfaces reall, comes down to the analog design, power supply, and emi considerations of the physical device.
I use low-cost interfaces for acoustic and electronic measurements, especially in my portable kit, but I choose recording and monitor interfaces based on listening tests and integration considerations.
ruffrecords
Well-known member
I have yet to find a interface that is better than 3dB down at 60KHz. Nothing gets anywhere near 96KHz.
Cheers
Ian
Cheers
Ian
I can check my Antelope Eclipse that claims 384kHz conversion (!). I have to see if I have a signal gen that goes to 100kHz.
Focusrite Scarlett drivers are rock solid, I can vouch on that.
I don’t use them myself in my studio or for my personal recording/mixing/mastering work but I teach in 2 different schools were both have Scarlett interfaces and the drivers work great and and very solid, never had any problem with them.
I can only recommend, without any doubts a Scarlett to anyone that is on a budget, they will be really well sorted
I find all the budget, low cost interfaces to have the same quality in terms of AD/DA conversion, not top notch but all of them good enough for home recording and Demos. Some home recordings might end up in the final record, which can be fine.
I use a Focusrite Red4Pre which is the top of the range in terms of Focusrite interfaces and the AD/DA conversion in those units is simply outstanding, they got everything right, but it’s an expensive interface.
I can’t really vouch for reliability as my Red4Pre just lost all its outputs from one day to the other really messing up my present work, so or I was very unlucky or they can be unreliable, I don’t know at the moment if it's one or the other. I will still have it fixed because I love the sound of that interface
I have yet to see that happen.
Never in 20 years of working in this area I have ever seen that, people that have a $100 interface normally have some Rode or TBone budget mics, and no outboard Mic Pres or Compressors, a $100 interface will just have maximum of 2 inputs, so not much gear to plug into there.
Although some cheap mics can be quite good like the TBone Ribbon mics. I’ve just used a pair of $100 TBone mics on a Piano next to a pair of vintage Neumann U67 and I like both sounds.
I can't say the same for any Rode Mic though
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I would love to measure that limit on my Red4Pre interface.
After I have it fixed I will ask for your help on how can I measure that, and will share the results with you
Thanks Ian
ruffrecords
Well-known member
Getting back on topic, I just found out what went wrong. I switched out the faulty Scarlett and replaced it with the old Mark 1 it replaced. This did not seem to have as much output as the previous one but I just put that down to improvements in the output. Anyway, this evening I was playing a track through it and I decided t to check the sound settings on my computer just to make sure the master volume was tuned right up. it was but.... glancing down I noticed the balance control was way over to the left - I was getting sound only out of one speaker. Set this control to the centre and bingo normal volume is restored. So I swap back in the 'faulty' Scarlett and it plays just fine on both channels.
LOL.
Cheers
ian
LOL.
Cheers
ian
k brown
Well-known member
Lens cap on . . .
capacitorless
Well-known member
Lord knows I've been there more than once, Ian! Glad it was an easy fix. I still learned a lot from this thread.
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