Like the mics, preamps, headphones, and speakers we all use, the choice of converters is just that — a choice. Whether chosen via personal research, a printed or online review, word-of-mouth persuasion, simple economics, just purely using your ears, or an amalgamation of these influential factors, A/D and D/A converters are significant pieces of the signal chain in this audio production era of the DAW platform.
Recently, I spoke with a handful of respected engineer/producers about choosing converters. Here are their opinions on the subject.
“I like to use Lynx [Studio Technology] Aurora converters for my tracking A-D and analog summing D-A because they sound better than anything I heard in their price range,” said Fab (Fabrice Dupont), owner of Flux Studios in New York’s East Village. “They have full Pro Tools connectivity, and I can also hook them up to native DAWs with an AES connection. They don’t need an external clock to perform great, are 1U of space for 32 channels of I/O, have no [cooling] fans, and are easily align-able to whatever reference level I like. They also never have any problems of any kind — hard to beat.”
Like some other engineers, Fab uses a varied setup when outputting and monitoring finals. “For printing mixes, I use a Crane Song HEDD [Harmonically Enhanced Digital Device] as it sounds very transparent, has tons of headroom, responds well to being hit hard, and has lots of great options and processing capabilities. For my main monitoring D-A, I use the Dangerous Music’s DAC-ST [D-A conversion for Dangerous' Monitor-ST, a remote-controllable input source, speaker switcher, cue/talkback system and headphone amp] because it’s the most neutral, natural, and opensounding D-A I’ve heard. What I hear is what I get: no color or distraction.” [read]