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RME User Forum → ADI-2 & 2/4 Pro series, ADI-2 DAC series → New user struggling
Hi All,
I have just received my ADI-2 Pro FS R BE and I am finding the manual overwhelming.
I would like to be able to set it up to digitize my LP collection at DSD256 but I am struggling to be able to select it.
I can't seem too change the PCM sample rate above 192kHz or the DSD rate above DSD64.
I have tried changing the mode between AD/DA and USB but no joy.
Could anyone give me a simple step-by-step guide to set it up for DSD256 capture?
Thanks
Sorry for not answering your question directly. However, it’s IMHO important to consider the best method for archiving.
Are you certain it has to be in DSD format? Most recordings are made in PCM format, which means DSD won't improve the original sound quality. Furthermore, DSD is not ideal for archiving due to the large data size and the difficulty in post-processing tasks like noise or crackle removal.
If you record in double or quad speed (up to 192 kHz), you’ll have more options later, including quick conversion to the lossless FLAC format, which also saves space.
From a sound perspective, double speed up to 96 kHz is usually sufficient. This is because the influence of D/A filters (e.g. slow filter, flattening of e curve in the high frequencies) shifts to the inaudible range above 20 kHz.
It might have been a good idea to purchase the ADI-2/4 Pro SE with a built-in RIAA converter as this implementation has some benefits. Search ADI-2/4 manual for "RIAA". KaiS shared some interesting information and setup details on this forum. Less components are sometimes more. Maybe you can gather some more information on this topic, to come to optimum results.
This is from memory and I am not using turntables anymore, maybe Kai can involve directly, many thanks.
If you are interested, it would be helpful if you could provide more information about your turntable, the pickup system and, if applicable, the preamp used.
Sorry for not answering your question directly. However, it’s IMHO important to consider the best method for archiving.
Are you certain it has to be in DSD format? Most recordings are made in PCM format, which means DSD won't improve the original sound quality. Furthermore, DSD is not ideal for archiving due to the large data size and the difficulty in post-processing tasks like noise or crackle removal.
If you record in double or quad speed (up to 192 kHz), you’ll have more options later, including quick conversion to the lossless FLAC format, which also saves space.
From a sound perspective, double speed up to 96 kHz is usually sufficient. This is because the influence of D/A filters (e.g. slow filter, flattening of e curve in the high frequencies) shifts to the inaudible range above 20 kHz.
It might have been a good idea to purchase the ADI-2/4 Pro SE with a built-in RIAA converter as this implementation has some benefits. Search ADI-2/4 manual for "RIAA". KaiS shared some interesting information and setup details on this forum. Less components are sometimes more. Maybe you can gather some more information on this topic, to come to optimum results.
This is from memory and I am not using turntables anymore, maybe Kai can involve directly, many thanks.
If you are interested, it would be helpful if you could provide more information about your turntable, the pickup system and, if applicable, the preamp used.
Thanks for taking the time to respond, but with respect, I bought the RME specifically because I want to record DSD256. It is to replace a converter that would do already 192kHZ PCM.
I have a Michell Gyro with Audio Technica moving coil cartridge and and EAR-Yoshino tube preamp.
The problem I'm having is that I can't select anything above 192kHz PCM or DSD64, which the RME is supposed to do, so either I'm missing out on a step somewhere or the unit is faulty. I'd like to get to the bottom of it.
Sorry, I'm not sure how my well-intentioned recommendation was received.
Just to clarify, otherwise you are of course welcome to do as you wish.
First of all, it was a well-intentioned recommendation with regard to recording and presumably archiving the record collection.
For the reasons mentioned, I would approach the matter differently per se, record in a (compared to DSD) more compact PCM format and then convert to DSD format if necessary, as is also done in recording studios where your music is being "produced".
Then you would have a much more compact recording and archiving format and all the possibilities for post-processing in case needed.
The RME reference converters are known for their qualities in terms of transparent and high-quality conversion, and not only in DSD format. In this respect, the purchase of the ADI-2 Pro FS R BE is not lost money, also considering all of its very useful and unique feature set. So I think you are still free to think about whether recording in DSD format is worthwhile at all or if there are maybe more useful alternatives.
And with all due respect, I'm not just some forum troll who wants to impose his opinion on you.
So please no struggle, this is simply information exchange.
To my person. I have been working with studio technology for some time now and have a nice high-end hi-fi system at home consisting of Accuphase and B&W components.
In this respect, I also have an interest in very good sound. But I have to tell you quite honestly, the purchase of sound carriers in DSD format or even the recording of records in this format would not occur to me. Now you could simply say that tastes differ, but for me there are other technical considerations and also very simple principles of practicality. Things that I briefly mentioned above.
Sound does not improve by converting it to DSD format either; the sound quality is primarily determined by the recording and processing in the studio in PCM format. DSD is not a sound enhancer, just a different format, and playback uses a different technology. However, this cannot improve the original sound and comes with the mentioned drawbacks in handling.
Well, just think about it carefully, that's all I want to say and now I hope somebody can answer the initial question to you.
Hi All,
I have just received my ADI-2 Pro FS R BE and I am finding the manual overwhelming.
I would like to be able to set it up to digitize my LP collection at DSD256 but I am struggling to be able to select it.
I can't seem too change the PCM sample rate above 192kHz or the DSD rate above DSD64.I have tried changing the mode between AD/DA and USB but no joy.
Could anyone give me a simple step-by-step guide to set it up for DSD256 capture?
The setting is at:
• I/O / Analog Input / Settings / AD Conversion: DSD
Your recording software might need to be active in DSD mode to actually make the setting happen.
USB Mode should be the way to go.
I have to admit, I‘m not 100% familiar with it, as I avoid DSD like hell.
It‘s an end user format that was meant to be distribute fully edited and processed audio on discs.
It’s simply a-pain-in-the-a##, with all it’s limits and complications (outside a straight SACD disc).
It locks out the slightest editing, not even native volume change is possible, and by no means click removal or anything else can be done.
I‘m doing professional recording studio vinyl transfer, intended to be used for commercial re-release of recordings where the original master tapes are lost.
After checking and evaluating multiple formats (even with my clients), PCM 96 kHz / 24 bit turned out to be the way to go.
Anything higher did not result in the slightest sound improvement.
Most important for good transfer is, in order of importance:
• Cleaning of one side only of the disc, a record-washer is mandatory, any will do!
• Wet play of the disc immediately after washing, when any residue is still soaked and softened from the washing.
I mean real wet with a thin film of distilled water / isopropanol mix on on the whole disk.
Only the needle tip may dive into the water, the needle carrier and of course the pickup itself may absolutely not.
This way ALL dirt is removed, and static electricity discharge that causes clicks is prohibited.
Needle tracking force can be increased to the upper limit of the pickup’s specs, bettering the tracking.
Needle and disc wear will be close to zero in wet play.
• The used pickup, it‘s needle shape (Micro-Ridge is best), and the wear state of the needle.
Micro-Ridge has the best tracking AND doesn’t wear out, as the needle has a very fine contact-zone with a wear-margin that can wear without changing audio quality.
This means full audio spectrum even at the critical, denser and harder-to-track inner grooves.
• Pickup alignment, most important the tilting of the pickup seen from the front.
The slightest mis-align causes asymmetrical crosstalk, which is clearly audible, as crosstalk is best at -35 dB anyway on vinyl.
Next important, pickup mounting position along the length of the tonearm, as it defines the horizontal tracking error optimization.
Tonearm, seen from the side, should be parallel to the disc surface, but that’s not too critical in my experience.
Of course, tracking force should be controlled, but that’s almost a banality.
• Tonearm and disc player: I had a lot of (quality) turntables in my life, and never had the feel there was a big difference in audio reproduction, even compared to the original master tapes (I’m producing music now for decades in my own studio).
I like my Sony PSX 800 Biotracer Tangential with Dynavector DV-17D2, but my Thorens gives comparable results, and even my little Sony PS-FL-77 / Ortofon OMP-40 is great for occasional listing.
• Only after that I’d worry about the recording format, of course a good AD-conversion is needed to preserve the analog disc feel.
44.1 kHz / 16 bit (CD-format) is NOT sufficient.
If you want to be way clear of all limits, PCM 192 kHz / 24 bit is 100% transparent (meaning true to the source) by a good margin.
When using my ADI-2/4 Pro SE as a preamp just for direct listening, that’s the sample rate I choose.
It does not limit any of ADI-2’s features, like SRs above partly do, and which DSD almost completely does.
Good points, nice summary, Kai, thanks.
Thanks both ramses and KaiS for your input.
As I said in the first post, my main concern was just to be able to choose between the all the various options, I was getting a bit frustrated that I couldn't figure out how to do something simple like change the sample rate. At one point, when I had managed to change the sample rate to 768kHz, I plugged the unit into my PC via USB and the rate immediately changed to 44.1kHz!
Anyway, I have now managed to figure out how it all fits together and it's working as I wanted.
Next step will be to make various recordings in different formats before deciding which way to go.
Thanks again for your help.
At one point, when I had managed to change the sample rate to 768kHz, I plugged the unit into my PC via USB and the rate immediately changed to 44.1kHz!
When USB is connected, ADI-2 always HAS TO follow the PC’s system sample rate.
Anyway, I have now managed to figure out how it all fits together and it's working as I wanted.
So all well!
Great tipps for perfect transcription of vinyl records, @KaiS.
Would you recommend riaa (or whatever) eq in the analog or in the digital domain?
Great tipps for perfect transcription of vinyl records, @KaiS.
Would you recommend riaa (or whatever) eq in the analog or in the digital domain?
In the digital domain.
The filter caps in analog RIAA EQs are the single most source for signal degradation.(*1)
I have had a bunch of phono pre‘s in my life, and ADI-2/4 Pro SE with it’s digital RIAA is the cleanest, most natural sounding of all.
(*1)
ALL caps distort, more or less, that‘s a measurable fact, not audiophile mumbo-jumbo.
I even have a rig to do these measurements.
If and how these distortions are revealed, depends on the function of the cap and it‘s place inside the electronic circuit.
Uncritical e.g. are DC blocking caps if the resulting cut off frequency is low enough, as in this case almost no audio voltage appears across the cap.
In contrary worst is the application in an e.g. RIAA EQ, the cap is working in the audio frequency range and full audio voltage is “visible” for the cap.
In RIAA EQs audio runs through at lest 4 of them, so distortions adds up.
RME User Forum → ADI-2 & 2/4 Pro series, ADI-2 DAC series → New user struggling
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