holgerd wrote:…The clock in the ADI is surely more stable than in the Scarlett...
For synced digital transfer clock quality is of no concern - the digital bits arriving at the recorder are the same, no matter how jittery (within usable range) the clock is.
For analog transfer that’s a different story, and I’d always go with the ADI-2 clock then.
ericseaberg wrote: What KaiS said... your source ALWAYS needs to be clock master, unless you have the ADI2 Pro do SRC and you wanted to capture at a higher sample rate, but there's no advantage.
That‘s true for almost all home hifi stuff.
Exception: Pro audio digital often has the option for external clock sync - else one could hardly use a multiple paralleled devices setup as typical in a studio.
SRC should be avoided for archiving- it’s not bit-transparent, bit-perfect.
Specifically DAT-tapes often suffer from tape error and dirt related problems.
In a 2nd (or 3rd, 4th,…) copy-run you can be lucky that the problematic portion of the tape is read without errors.
Then you need to edit the good parts together, which is much more easy when the copy is bit-perfect, not modified through the SRC.
As I’m in the business of restoring old recordings too, I have a setup that allows to automatically mark the errors during recording, to later inspect and correct them this way.