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Music servers and other computer based digital audio technologies.

So you DID have...

- 24/44.1 Toslink S/PDIF out from Prodigy 7.1, ASIO driver
- to an RME ADI-192DD
- thence to a Meridian 518 set to reduce 24->16 bits
- thence to the Audio Alchemy EDR*S chain
- thence to an Apogee Big Ben
- thence to second Meridian 518 set to expand 16->24 bits
- thence to a dCS Purcell doing SRC from 48 to 96
- thence to an Assemblage D2D-1 in "Transparent" mode
- thence to a Perpetual P-1A set to run its "Resolution Enhancement"
- finally to the Cary Cinema 11 at 24/96

Phew. That's quite a list. So help me out here: why go from 16 to 24 bits with software, then spit out 24 bits from the Prodigy only to go back down to 16 with Meridian 518 #1 and then back up to 24 again with Meridian #2? Methinks staying at 16 bit then using only the second Meridian in the chain would be a good place to start... a slightly more minimalistic approach?

And... why did the Big Ben go where you put it in the chain? I mean, why reclock there but then rely on device input PLLs at every stage downstream in the chain? Or are you using the big ben as a masterclock for downstream as well?

Thoughts?

Cheers,
Presto



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