When it comes to audio equipment, there’s always debate. Is the pricey gear worth it? Do the numbers actually matter as much as people think? I spent some time breaking down specs, distortion percentages, and getting into what those differences really mean. Let’s talk about converters like Apogee, Behringer, and Digi003—and whether your ears can really tell the difference. Spoiler: It’s more complicated than it looks on paper.
How Harmonic Distortion and Noise Are Measured
If you’ve ever looked at specs for audio converters, you’ve probably seen terms like “THD+N” (Total Harmonic Distortion plus Noise). But do those numbers translate into something you can hear? This is where things get murky.
Take the Apogee converter, for example. It boasts a THD+N of 0.0045%, or about 105 dB below the main signal. That’s impressive on paper. But does shaving off a fraction of a percent make a noticeable impact? Not so fast.
Now compare this with a more affordable option, like the Digi003. Its THD+N is listed as 0.008%—a bit higher than the Apogee. You might think, “Double the distortion? That sounds bad!” But in a real-world scenario, your ears probably wouldn’t catch this difference. Heck, you might not even notice if I brought in a Behringer converter with comparable THD+N stats.
Can You Really Hear the Difference?
Let’s make it practical. Imagine you have a track featuring instruments like a piano or a vocal line (think Norah Jones), paired with a drum track in the background. Now reduce the drum track’s volume by, say, 74 dB. Would you still hear it under normal listening conditions? Likely not.
Even at a 40 dB drop, faint traces of the drums might become audible. But this is the point: even small volume changes make a big difference. If harmonic distortion percentages are measured in minuscule fractions—far, far lower in level—you’re not going to hear it mixed into real music. Your ears simply aren’t that sensitive, and that’s ok! Distortion specs aren’t easily heard in casual or even critical listening.
Why Some Specs Aren’t the Full Picture
Looking at spec sheets can be misleading. Manufacturers list impressive stats, but they may not specify if the equipment measuring those figures is super high-grade. Measuring something like harmonic distortion accurately, especially at extreme lows, requires specialized and expensive tools. Your average audio interface isn’t going to cut it.
For instance, the Behringer ADA8000 claims a frequency range from 10 Hz to 24 kHz and dynamic range up to 130 dB. Impressive—on paper. Does that mean it sounds “better” than the Apogee? Not necessarily. Numbers only tell part of the story.
When It Comes to Audio, Trust Your Needs
The truth is, specs may help guide your choice. But what you actually need depends on how you’re using your gear.
Not an audiophile? Then spending top dollar for an Apogee might not make sense. Looking for good quality while on a budget? Behringer or Digi003 could do the job fine. Your listeners likely won’t hear the difference, especially in a mixed, mastered track. Most people won’t sit there trying to isolate microscopic amounts of harmonic distortion or noise.
Sure, technically, expensive brands might offer features built for high-end mastering environments. But for the average musician or producer, there’s diminishing returns on those extra numbers of performance.
You Don’t Always Need to Spend Big
Here’s my conclusion: buy the best gear you can reasonably afford, but don’t overthink it. If Apogee fits your budget, great. But if it doesn’t, don’t sweat it. Cheaper options like the Digi003 or Behringer work well for most uses. Audio gear is just one part of the equation—and obsessing over specs only goes so far.
For me personally, I’d skip converters entirely unless they’re crucial to my workflow. Everyone’s priorities are different. Maybe you’d prefer spending cash on a better mic, guitar, or other creative tools. Audio converters are great, but they alone won’t guarantee better music. Trust your instincts and focus on what helps you create your best work.
Disclaimer: The views and information in this article are based on the author's personal experience and do not represent official guidance or endorsement by any company or organization. Audio technology and practices change, so always verify information with further research or professional consultation before application. No specific products or techniques are endorsed unless explicitly noted. The author and site owners are not liable for any outcomes from the use of this information.
