See, I've been playing, recording, engineering, producing and generally speaking being in the music & studio environment professionally for upwards of 27 years, now, and frankly, I have VERY, VERY SELDOM heard any piece of professional audio gear 'mop the floor' with another, in terms of comparison/quality - and CERTAINLY NEVER when it came to differences in digital clock & clocking sources. can U pls, exactly, descriptively and if possible in measured figures, too, define ' mopped the floor with the Rosetta'? (Btw, Mopped the floor with the Rosetta! MOPPED IT!)įunny thing tho, he chose the Orion? They were close, but age and I/O I think took the win for that one.While I agree on the reasoning on the Orion (pretty hard deal to beat, these days), I have to politely ask. If you haven't tried it straight to your monitor, give it a try and hear the true sound of the LS56. Running the LS56 straight to my monitors I'm loving the sound I'm getting. I sold my lynx aurora 8 (due to tech problems) and purchase the LS56 but thought it was just ok sounding with the central station controller in the chain. The LS56 is a great interface, just take them cheap monitor controllers out and have a listen. I pulled the central station a few weeks ago and ran the LS56 straight to my monitors (Adam A77X).

I was using the central station for years and I like very few interfaces and converters with that thing in the chain. If you have that in the monitoring chain or presonus central station I would advise you to take it out and run the LS56 out straight to your monitors. I looked on your web site and notice you have a mackie big nob. If I were U, I'd much rather use that money to buy something that makes a major, not a mini-minor, difference - like a good piece of outboard gear, a new pair of mics, a musical instrument, room acoustics treatment, etc etc.īetter off throwing my money on a nicer interface later this year. More importantly, if U're happy with your Saffire, there is no personal, musical nor technical or practical reason to buy an external clock - U're not running a multiple digital device editing suite or postpro facility. Google Dan Lavry's papers on external clocking, they shed quite some light on this matter. It's quite unlikely that could/should/might improve anything, although U might (or might not - placebo, as U mentioned) hear some minor difference that might (or might not) be an actual 'improvement'. This Sound-on-Sound article lays it out, and lab tests performance of a handful of clocks at several price points and then tests performance of converters slaved to them as well as opoerating under their own clock:ĭoes Your Studio Need A Digital Master Clock? In general, slaving to an external clock will actually degrade the jitter performance as opposed to using the converter's own native clock circuits. The problem is getting that superior timing to your converter box and then having the converter's supposedly inferior clock do the more difficult job of maintaining a tight sync lock via a phased lock loop. Thanks!The rationale is not that it's the converters,but it's that the BB has a supposedly superior clock - which you'd slave your Saffire to.

I may hear a slight improvement with the Big Ben, but perhaps it's just placebo. I've been going back and forth listening to tracks this afternoon with Saffire's internal clock, then switching to wordclock for the Big Ben. This stuff is beyond my technical knowledge, so forgive me if I am explaining it incorrectly. A buddy of mine is selling his Big Ben and believes that using it in conjunction with my Saffire 56 would possibly improve the sound.due to better converters with the Big Ben as opposed to the Saffire's.

Bigben liquid