Given the rather low maximum output power provided on the headphones-out and the lack of dedicated output buffers, I really think that the headphones are directly driven by the NJM8065 opamps, so sensitive headphones are required for monitoring purposes. I’ve used sensitive AKG K550 closed headphones, in a very quiet environment (quiet bedroom at night with no audio pollution sources) and the volume was very loud to my ears when I got the knob volume over 2 o’clock (couldn’t pass over 2 o’clock, because I can about my hearing). However, when using Audio Technica ATH-20X monitoring headphones the knob volume could be maxed out without feeling that my hearing will get damaged. I also tested the sound with Hifiman HE-560, but I felt like the volume is around 25% then needed, so low indeed, but it was clean and free of audible distortions.
You created a feedback loop with both direct monitor and software input engaged, they have different delay and when mixed, created a comb filter effect.MIC input with both AIR and Direct Monitor buttons pressedYou can easily see the effect of harmonics increase when AIR button is pressed, but also the odd distortions and decrease of output volume caused by the Direct Monitor. Not sure what is causing such kind of effect when Direct Monitor is pressed, but this is usually not pressed while doing recording, so it shouldn't matter much.
Direct monitor is probably not very useful for interfaces with very few (the AIR button?) or no hardware DSP effects. For interfaces with DSP effects, like those from RME, Motu and Creative/EMU cards they are much more useful.I have an ADI-2 DAC and I really love that I can apply the EQ to sound from other devices like game consoles and have have system wide crossfeed from my couputer without using latency and stutter prone virtual loopbacks though a DAW.
...or take a look at what the kX driver for Creative/EMU cards doing system-wide signal routing/effect processing without using any DAW. You can even write your own DSP module with the built-in code editor, and the effects support MIDI automation.
kX driver was coded by volunteers -- an unofficial driver. However it contains proprietary assets from Creative and it was closed-source. IIRC the lead developers had signed an NDA to obtain those assets. Perhaps the NDA is expired or Creative don't care about it anymore since the driver is only compatible with legacy Creative/EMU cards with the EMU 10kX DSP.I think it's been at least a decade since I had a Creative card. Seems like they added a lot more features to the kx drivers since I used them last.
And with the wonder march of "progress" you now have to compile the damn thing yourself. FFS Microsoft...
I am not sure I fully understand the question.Could you please comment on how you did the measurement of the line and instrument inputs? I am reading something near 0.x dBFS but at minimum gain I would not expect the line output to saturate the line input which has a pretty substantial headroom.
Jack output connected to XLR or jack from the inputs, so the circuit is closed. Voltage is not dropping at all when closing the circuit...or at least I haven't noticed that. I should be able to do measurements for 2V RMS if required, but I guess same Gen3 was recently measured by Amir here: https://www.audiosciencereview.com/...rlett-2i2-audio-interface-gen-3-review.10187/, in case this helps.Hi @trl, thanks for your review!
And when you say "measurements were done in loopback mode at an output level of 1.145V RMS" you mean open circuit voltage? I would expect the voltage to drop a bit when you drive the microphone input, due to its relatively low impedance.
Hello,
I am not sure I fully understand the question.
Sweet spot for lowest THD on jack outputs is at around 2 o 'clock, in case this helps.
Jack output connected to XLR or jack from the inputs, so the circuit is closed. Voltage is not dropping at all when closing the circuit...or at least I haven't noticed that.
I should be able to do measurements for 2V RMS if required, but I guess same Gen3 was recently measured by Amir here: https://www.audiosciencereview.com/...rlett-2i2-audio-interface-gen-3-review.10187/, in case this helps.
This studio interface is good-enough for SOHO audio recordings and also for simple audio measurements as well, even for power amps if placing a resistive divider in front.
In loopback, 1 minute ago, with 1KHz sinewave, volume knob a bit over 2 o'clock, Foobar playing 1KHz @48KHz from audiocheck.net file, I got the below graph on the right channel: [...] 2.05V RMS
The line input impedance is high and will not affect the output voltage coming from the balanced jack outputs in any way. I unscrewd the jack and measured the RMS voltage in real-time and obviously I got the same 2.05V RMS with and without the jack plugged into the Line IN.
https://www.audiosciencereview.com/...erface-reviewed-and-measured.9398/post-246906but the specs report a max input level of 22dBu (at minimum gain)
The Full-Scale here is relative to approx. 2.1V RMS and not to Focusrite's actual full-scale. To do that I would need to re-calibrate ARTA accordingly and re-measure again.Thanks, I appreciate the additional info. Then it is not clear to me what does RMS = -0.2 dBFS refer to. One would expect that to be the FS of the ADC, but the specs report a max input level of 22dBu (at minimum gain) and 2.05V are just shy of 8.5 dBu.
The Full-Scale here is relative to approx. 2.1V RMS and not to Focusrite's actual full-scale. To do that I would need to re-calibrate ARTA accordingly and re-measure again.