Zensō
Major Contributor
I have the older non-FS version and have not noticed this as being an issue.
I have the older non-FS version and have not noticed this as being an issue.
Thanks for taking the time to reply so promptly.Neither have I nor anyone else. Strange. And the 'plastic' is not ours. These are professional Amphenol jacks where we just not use the 'housing' but the aluminum chassis instead.
+4 dbu nominal sensitivity is sort of a pro standard. It expects 20 db of headroom above that or a max output of +24 dbu or about 12.28 volts.
One feature I would like to point out, related to the SNR measurement: The XLR output max level is +19 dBu balanced. This new FS version has a switch on the bottom that reduces the output level to +4 dBu max. This is very useful as active monitors these days are very sensitive. At +19 one would have to reduce the level in the digital domain a lot, loosing about 15 dB of SNR. Thanks to the switch the full SNR is moved down to that lower level.
As soon as you set this up you will notice that the HS8 are much too loud, so the BF switch in the +4 dBu setting is the only choice that makes sense. No need for complicated and confusing mathematics...
@soundoffhear
The manual for my monitors said "This input is an electronically balanced input and is compatible with both -10 dBV and +4 dBu signals."
This to me suggests that if I were to set the BFProfs switch to +19 dBu there is a risk of clipping the input of the amp, if I raised the main fader in totalMix.
I'd be inclined to set to +4 dBu and then just remeasure your monitors, then adjust the level control on them for your desired SPL.
I created my own master fader graphic for Reaper DAW and have it to display -18 dB RMS as the zero point.
HS series manual:
"LEVEL control:
Adjusts the output level of the speaker. When set to the 12-o’clock position the speaker is optimized for a nominal input level of +4 dB."
Are you wanting the LED meters on the RME interface to follow K-20 metering, or are you not so fussy about that?
I don't get that logic. All the metering system does is specify the amount of headroom, i.e. the difference between 0 dBFS and average level. It does not magically reduce any levels. You still have to translate 0 dBFS to monitor input sensitivity and then acoustic output level in a sensible manner.3) So I see no advantage to the +4dBu attenuation switch within a proper K-20 metering workflow, as the digital signal is already being targeted -20dB lower for the average volume
I don't get that logic. All the metering system does is specify the amount of headroom, i.e. the difference between 0 dBFS and average level. It does not magically reduce any levels. You still have to translate 0 dBFS to monitor input sensitivity and then acoustic output level in a sensible manner.
My question is if I should kick up the dBfs +5 on the RME fader to equal an average +4dBu output level. Is there is an efficiency or performance benefit to target +4dBu output? Otherwise, I'll leave the RME output fader at 0dBfs, have an average output of -1dBu and call it a day.
If you compare the ADI-2 DAC FS with the 3.5 mm of the BF Pro FS, what are the differences between them (or are they effectively equal for practical purposes)? I have tried to compare the specs from your website, but the metrics used are different for the IEM 3.5 mm part. It would be brilliant to get comparable numbers or at least an overall take on it in practice terms.Thanks for this review, Amir!
This unit is USB bus powered. As such we had to make sure it will not cease operation the moment you record the take of your life. The whole unit is carefully balanced between power consumption and performance. The reason for the two headphone outputs is part of that - a high power headphone output can easily shut down USB bus power with higher levels on low impedance phones. So we added two outputs with separated driver stages. One gives a high output level, but its output impedance (a 10 Ohm resistor) limits the available current. Note that changing this to 0 Ohm would not have resulted in higher output power as measured on a 300 Ohm load! Only higher levels could do that, and these are not possible without upping the power consumption. Also the effects on frequency response and damping are no problem with phones of 80 Ohms and up.
For low impedance headphones 10 Ohms is too high, so we added a second output (3.5 mm) that is limited to a 6 dB lower output level, but near zero Ohms output impedance. From my practical experience with a lot of different headphones, you will not have a problem with either low or high impedance ones, and you could even connect two at the same time (thanks to the separated driver stages).
One feature I would like to point out, related to the SNR measurement: The XLR output max level is +19 dBu balanced. This new FS version has a switch on the bottom that reduces the output level to +4 dBu max. This is very useful as active monitors these days are very sensitive. At +19 one would have to reduce the level in the digital domain a lot, loosing about 15 dB of SNR. Thanks to the switch the full SNR is moved down to that lower level.
I bought these, unscrewed the shield, and disconnected the pin.FYI Benchmark made excellent XLR to RCA cables with Pin 3 floating as per spec (electronically balanced) that can be used with this Babyface, but are currently out of stock. Not sure if they will make them again.
https://benchmarkmedia.com/collecti...ark-xlrfm-to-rca-adapter-cable-pin-3-floating
I may have purchased the last pair of 3 feet cables... They are made from Canare L-2T2S which has a respectable capacitance rating of 33 pf per foot (between conductor to shield - PDF here).