I wrote a thread sometime ago about 'how to test converters". God knows where it is.
One thing to take into consideration, Cyan and others:
When you say the difference between something like
a Delta1010 and a Lucid converter is marginal, I'd say it depends.
Pure logic dictates that, the better / higher quality your signal chain, the bigger the difference between converters becomes.
In other words, if you would put 2 such converters next to each other in a purpose designed, acoustically correct control room environment and A/B them, you would hear a BIG difference. Do the same test, but in a home environment, and the immediate audible difference will be less. (note: I said immediate audible - if you'd start stacking voices for instance the difference will be amplified, the more tracks, the bigger the difference).
The next, very obvious but often forgotten, difference / difficulty in A/B'ing 'verters is the D/A part. For example. I could track something through a $10.000 Stagetec A/D converter with over 150 dB dynamic range, and track the same thing through a Delta A/D.
Now listen to both, using the Delta D/A. The difference in sound will be marginal.
Now listen to the same 2 samples through the Stagetec's D/A - and the difference will blow your mind.
However, that difference will be in the recording. Just with one D?A you can hear it clearly, with the other one you cannot.
That is one of the reasons why I don't put such samples up. While I don't have an 001 at present, I have used them, tested them, as I have tested most other D/A's and A/D's. My test results are used by various people, but that is in pro environments, where I can demonstrate exactly what they will hear.
A very good result of the quality of conversion is experienced in mastering. I often get masters recorded / mixed in Pro Tools, using the generic Pro Tools clock and Digidesign 888 converters, fortunately less-and-less of them, as it severely jeopardizes the mastering process. Had such a session used something like Lucid converters and an external clock, a mastering engineer will have a substantially better dynamic range and extended frequency spectrum to work with, it makes the job easier and the results better.
Its a bit like 2 painters trying to get a smooth coat, one has a smooth oil based paint, the other a watery substance with some sand in it - no competition whatever they try.
Cyan is right about the clock. Less than 2 years ago sync clocks were between $2.000 and $5.000 - therefore used mainly by post production and mastering facilities. Now there are finally clocks designed purely for audio (as supposed to audio / video), and the 2 best clocks there are - period - for audio are the Ludid GEN6 and GEN6-96 clocks, on or around $500.
We are now how many years into digital audio?, and this is the first time clocks have come on the market that make a huge improvement in digital audio quality. This only because there are some critical design and engineering aspects involved in creating such a clock, the Lucid ones have been under development for a very long time.
A couple of facts:
- It is mechanically impossible to build an accurate clock in with any other gear (converter / card / DAW / recorder / etc). No exceptions, good 'build-in' or 'part-of' clocks do not excist.
- The same as the above goes for converters.
If you have any doubts about the above, consider that Yamaha just launched their new live console the all digital PM1D, which I think costs just over $100.000 They did a demo in Nashville, with Clare Brothers (for those who don't know, the largest PA hire corporation there is). Clare's engineers thought the whole thing sounded unacceptable and were "less than pleased" just a day or so before a huge show in which the new consoles were to be used. We shipped them a GEN6, which they used to clock the consoles from, and they sufddenly sounded great.
Same goes for every other piece of digital gear, doesn't matter if it costs 100 bucks or a million.
NEVER buy any digital gear unless it will accept an external clock source.
In conclusion, yes, an accurate clock will make a HUGE difference in the sound quality of ALL digital gear. For a "lower-end" system this will be the most audible, immediate improvement.
Converters also make a huge difference, how big a difference you can hear depends on the quality of your equipment, but never forget that by using a top converter you get quality to disk, regardless if you have the chain to hear it or not.
And finally, if you need any Lucid gear, ask me for a price first, as we should be able to get you the best prices. We sell a small number of pro gear brands, Lucid being the only item that's affordeable!
apart from a limited number of assessoiries, which you can buy direct from their website, 
