The MEC outs are 20-bit, and the A8o outputs are 24-bit. The sound quality difference isn't a lot, but I prefer to stay with the 24-bit I/O for anything critical, and certainly if you are using 24-bit files.

Originally posted by Dedric:
The MEC outs are 20-bit, and the A8o outputs are 24-bit. The sound quality difference isn't a lot, but I prefer to stay with the 24-bit I/O for anything critical, and certainly if you are using 24-bit files.
10x. Just got a system 4 a test drive - very cool indeed.
What about the ADAT optical module? I was told it was using only 20-bit b/w. Is that true?
...And while we're at it - Is the monitor level controlling the analog or the digital gain? In the digital case - wouldn't I b loosing bits while monitoring at lower levels?
10x again,
RS

The ADAT cards are 20-bit. There are 24-bit ADAT and AES cards on the way - no timeframe yet though.

I just use the control room monitor (ml, mR in the patchbay) tied to my 24-bit outputs to amp/monitors. The digital out (SPDIF) can be controlled from the global fader only if you connect it to L/R in the Paris patchbay - so you can monitor at whatever level you want (including mute/dim) and still bounce a mix via SPDIF to a DAT/CDR/another computer. I do this all the time - just like a traditional console where you have a main or 2 track out and a control room out. You can configure your studio multiple ways, and always recall a different patch config for different scenarios.

So you will not lose any bits on mixdown/bounce down if you keep the global fader up (as well as submixes too of course), and either bounce to disk, or via SPDIF connected to the L/R outs in the patchbay. Are you running v3? Very cool upgrade indeed.

Hi again, sorry 4 the delay (long sessions... :D )
I may have failed in explaining my Q:
I know the monitor and mix paths are separate.
What I wanted to ask was: Is the monitor knob controlling the level before or after the monitor output's d/a converter?
In the case of analog control (by vca after the converter) 20-bit resolution would be kept at all levels.
If on the other hand, it just lowers the DIGITAL level just before the d/a converter, wouldn't I be listening to sound originated from an inferior source (less bits) at lower levels?
Yes, I'm using the V3 I got w/ my system.
I'm not familiar with earlier versions of Paris but this one is cool. Tres cool.
RS

Sorry about that, I did misunderstand.

AFAIK, the monitor control is pre-D/A. The reason I say this is that it controls the output level to any output (MEC, Ao8, etc.) and the D/As are on the I/O cards, with routing being done digitally in the EDS mixer engine. Also, the manual says to run the monitor knob at 12 o'clock for best fidelity, which to me implies that 12 o'clock is 0dB pass-through (hence full digital resolution). Obviously this requires running your amp at partial volume, or via another attenuator (mixer, etc). It probably would have been slightly better for gain staging in most monitoring scenarios to have a VCA monitor control, but would be technically rather difficult to achieve in a modular I/O design with digitally controlled patching capabilities (i.e. the only way to acieve this would basically be the same as putting whatever outputs you use through an attenuator with a knob).

Although this might not seem to be optimal, it isn't uncommon, or necessarily a big problem if you can set a standard, "full res" monitor level at your amps with the C16 monitor control at high noon.

Originally posted by Dedric:
Also, the manual says to run the monitor knob at 12 o'clock for best fidelity, which to me implies that 12 o'clock is 0dB pass-through (hence full digital resolution). Obviously this requires running your amp at partial volume, or via another attenuator (mixer, etc).
No problem, my monitors r dip switched and input trimmed, ready for any input level.
I never change my monitor level when I mix anyway, here's one more good reason... ;)
For checking the balance and low end at low levels I guess lo-rez will do...
The tech guy in one of the studios I work in is building a passive attenuator (BIG, scary MF...), w/ 3 stereo outputs for that very reason in other systems. He'll toss 1 my way when it's ready.
10x again for your time and answers,
RS