Why A High End Interface?

B

BigEZ

The Devil Has Blue Eyes
I don't really understand why I would need a super high end interface. Can someone enlighten me on the ins and outs of interfaces? I currently have a Focusrite Pro24DSP going straight into my comp via FireWire. Everything will be running thru an LA610SE prior to hitting the Focusrite. I only use the Focusrite to take the sounds from my channel strip to my DAW...nothing more, nothing less. So in my case, why would I need a multi thousand dollar interface if at all? I only track guitars and vocals.

I guess the main question is will a higher end interface noticeably improve the sound quality?

Thanks,
 
Above about $500, the extra $$ mostly buys you a larger number of inputs and outputs....
 
Thanks dgatwood. So my current interface should be up to par? What about the difference between an external interface or internal card? Is one better than the other as far as sound quality?
 
You're 90%-or-so of the way to perfection.

Where everybody spends the mega-bucks (in any hobby) is trying to get the last few percent they can....
 
RokZtaR said:
What about the difference between an external interface or internal card? Is one better than the other as far as sound quality?
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Converters in an external box, unless they are designed very poorly, are inherently going to have lower noise than anything you could possibly put inside an electrically noisy computer enclosure.
 
Who told you that you need a high end interface? And what are the significant deficiencies in your Focusrite that you can't live with?

At the end of the day, I think other factors are going to have much greater influence on your satisfaction than your interface. A great acoustic environment, excellent performances, better microphones and skillful mic placement probably top the list.

Ok, so what would be a reasonably priced 100%? Thanks.
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There isn't. If there was, then everyone would have one. Bit like asking for a reasonably priced Bugatti Veyron.

In my simplistic view, the most important items of equipment in the audio chain are the transducers - the microphone and the loudspeaker. These are going to account for the greatest degree of distortion.

Just my thoughts. Paul
 
RokZtaR said:
Ok, so what would be a reasonably priced 100%? Thanks.
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His point was that there is no reasonably priced 100%. And like he said - its the same in virtually all hobby / enthusiast driven markets. To get the absolute best, which may only be slightly better than reasonably priced, common items, you have to spend a very unreasonable amount of money. Recording equipment, while not as bad as some markets (audiophiles will spend hundreds on special power cables.... yea...seriously) is no exception.
 
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I'm not seeing anything wrong with the Focusrite, I just don't know what kind of difference I'd be looking at which is why I'm asking.

When I say reasonably priced, I mean, for example, the difference between an AKG C414 XLII and a Neumann U87. While they're completely different birds, they're both world class microphones but the AKG is over $2000 less. Or an LA-610 vs an STT-1, again, different sounds but both world class channel strips with the LA being much more cost effective. Basically I'm not looking for a $500 answer, more like a $1000-$2000 answer.

I'm trying to get as close to that pro sound as possible but really don't know anything about these high end interfaces or why it would be important to invest in (I have no need for more ins and outs). If the popular consensus is that there's no need to upgrade, then I will take that advice and run with it.

My major upgrades over the past year are as follows...

-Much faster comp
-Yamaha acoustic to Taylor GS7
-Rode NT1A to AKG C414 XLII
-Pre's on the Focusrite interface to an LA-610SE

Each of these items helped the sound of my recordings drastically (comp was obviously for speed). So my main question is will investing in a high end interface give me the same results? I would never have known or heard the difference in changing the mic pre's withou the suggestions on this forum as I just didn't know about it...same goes for this.
 
There's no need to upgrade.

The three things that make a big difference to your recording quality are the microphone, the mic pre amp and the acoustics of your room. Compared to these, you won't even notice a different A to D.

There are two reasons for expensive interfaces. The first would be believing in audiophile snake oil and differences that can't be proven with true blind comparison. The second....and the one that sometimes drives pro studios....would be the stability and reliability of the hardware and drivers.

The first isn't a good reason; if you're not having problems with the Focusrite, then the second doesn't apply.
 
Thanks Bobbsy.

Second question, what are the advantages of an internal sound card to an external interface?
 
RokZtaR said:
Thanks Bobbsy.

Second question, what are the advantages of an internal sound card to an external interface?
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Pretty much none. There was a speed advantage of something directly connected to the PCI bus compared to old USB 1 stuff but this didn't come into play until you were talking about multiple channels anyway--and, with USB 2 & 3 and Firewire, this is pretty much a moot point anyway.

However, there's a disadvantage to an internal card and that's that the inside of a computer case is an electrically noisy environment--the last place you want to have mic level signals floating around. A lot of screening was needed and even then the S/N figures could be fairly bad. Some manufacturers got around this by putting the mic pre amps in an external box anyway.

If it was up to me, I'd specify an external interface.
 
Thanks again for further info. I see all these awesome reviews for the RME stuff and saying when they switched from their previous interface that the sound difference was night and day due to the AD converters. Is this not the case?
 
RME make excellent interfaces, no doubt about that. Their mic pre amps are, indeed, some of the best built in ones and, to my ear, are audibly better than most cheaper ones--but that's the mic pres, not the A to D converters. (My comparison is based on the Fireface 800 by the way, I can't speak for the whole range.)

They also have other features that can be extremely worthwhile if you need them. These include:

-extensive and flexible options for creating monitor mixes (and a good monitor mix in the headphones can help performances hugely)

-the ability to use a high quality external word clock, essential when using multiple digital devices

-low internal noise floor

Yes, RME make great interfaces--in the professional world I used to move in, RME and MOTU were the two main go-to boxes--but, other than the mic pre amps (and you have an external one anyway) it was more the feature set and reliability that caused this, not a "night and day" difference in the A to D and D to A side. If you have really good ears, you might hear a very subtle difference due to the lower jitter due to clocking--but it'll be nothing like what you hear when changing mics or pre amps.
 
You da man Bobbsy. I think I'll stick with what I have as an interface due to your informative responses. Thanks again for the help.
 
Hey Bobbsy, one last question. Just for fun, let's say money were no object and I could afford the new Lynx Hilo system (which i can't). You don't think that would make a fair difference in sound quality?
 
If you are that serious about sound quality, then in my opinion you should first pony up some serious money for high performance amplification, loudspeakers, and an acoustically treated listening environment to reliably hear differences. Loudspeakers are pretty much the highest source of distortion in the audio chain, so I reckon that this is where money should be spent for real audible improvements.

To build good gear does cost, but (I strongly suspect) not as much as the "top shelf" might suggest. Most convertors use one of a handful of AD chips which cost maybe $10 or less each in bulk buys. Price can reflect the robustness and durability of equipment - heavier duty casing and fastenings for example - which may be a wiser investment for equipment going on the road.

Current generation oversampling AD chips all perform very well. Audible differences in converter hardware may come down to:

The analog conditioning circuit prior to conversion.
PCB layout.
Quiet power supply with appropriate de-coupling for individual ICs.
Good clocking (probably less of an issue today). Good quality connectors. Shielding.

I believe that the engineering design principles are pretty well defined these days, and the audible differences between competently designed pieces of hardware will be fairly subtle - although plenty of punters will stridently disagree.

I therefore think there are other areas to explore before fussing too much about converters.

Maybe you have some anxiety about not having the "best"? How about going out and auditioning equipment to put your mind at ease? If, under controlled listening conditions, you can repeatedly and reliably hear a clear difference in gear, then go for it. Remember, "pro" audio is not in any way free from hype and marketing.

You might find Ethan Winer's Audio Myths workshop interesting. Audio Myths Workshop - YouTube

Good luck!

Paul
 
RokZtaR said:
Hey Bobbsy, one last question. Just for fun, let's say money were no object and I could afford the new Lynx Hilo system (which i can't). You don't think that would make a fair difference in sound quality?
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I should start by saying that I've never tried a Lynx Hilo so can't give a personal opinion on the quality. However, I would be incredibly surprised to hear anyone reputable say that an expensive boutique A to D can make anything but the most subtle of differences--and I bet there's argument over even those subtle differences with some claiming to hear them and others discounting the idea.

PRHunt sums it up nicely in his post above. There are lots of other things that make hugely dramatic differences (i.e. the sort that everyone hears) to your recordings and, until those are completely sorted out, things like tinkering with the A to D converters is certainly not the best place to spend your money.
 
Hey Bobbsy, I truly appreciate you taking the time to explain fully. I will stick with my current setup. Thank you very much for breaking it down for me. You've saved me a sh!t load of money. I will listen to this specific piece of equipment when there is a chance available in a controlled environment. Until then I will look at the other variables more seriously. I'm just looking for the most pro sound I can get in my modest home studio by upgrading the most important components. This apparently doesn't seem like one of them...not like my mic, channel strip and room treatment. That's why I love this forum, great info that a sales rep would never give you.
 
No problem!

Bearing in mind what you already have, the biggest improvements available to you would be extra microphone(s) and anything you can do with acoustic treatment for your room--your interface and pre amp are already pretty good.

...and, when I say microphone, that's not a criticism of what you have. I'm a big fan of the C414 as an all rounder--but with some research and experimenting you might find something you like even better on your voice. Or, more likely, you might find you like the sound of a stereo pair of SDCs on your guitar. You'll find that most of us have a box of mics and change the ones we use depending on what we're recording and even the style of the song we're working on.

I'm only guessing on the acoustics since I haven't heard any of your recordings but that's the biggest area of improvement for most home studios (and the most difficult one to achieve in a domestic situation). Improvement isn't just limited to doing major works on your house--changes to the mic placement in the room can make a huge difference as you vary angles, relationship to soft furnishings and curtains, etc. etc.

...and, like the old joke about the way to get to Carnegie Hall being "practice, practice, practice", honing your skills in recording and mixing (just like you do with musical skills) is a big factor and one you can't buy with money!

Have fun recording!
 
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