I can imagine people reading this in mild disbelief. No matter what modern soundcard is used it is going to be capable of accurately capturing what's left of the music that has passed through one (or more likely several!) of those early ADC's. It's worth bearing in mind that the bits captured on recordings by early ADC's (ones which NO-ONE would buy these days.) still sound good in many cases. I'm not saying they are all identical (far from it), but I've found the ones I've tried to be pretty consistent so far.ĮSI Juli, RME Hammerfall and M-Audio Audiophile 24/192, Lynx, Apogee and Lavry Blue (expensive!) are all excellent ADC's. Interestingly enough, it seems that whilst many audiophile DAC's are actively "voiced", ADC's tend to be designed to be "flat" or "neutral". If using a reference REDBOOK recording mastered before roughly the mid-90's, the chances are that the sonic capabilities of a good modern 24/96 or 24/192 soundcard will equal or outstrip those of the entire recording/mastering chain. Fortunately, excellent quality soundcards can be had for (relatively) little money. Unfortunately there is no way round this.
Then I realized the ADC will have they're own signature and therefore make it difficult to share reference data as easily as I first thought as most of us doesn't have the same sound card. This idea first got me exited as I want to get my feet wet with ADM.
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