So sorry gentlemen! I am not an expert in digital testing and wished only to indicate my experience as to UFX record "suitability" on a live Swing band-with 13 difficult to record horns. Obviously, I find the UFX' A to D's, encoded jitter more than acceptable.
There are A to Ds beyond my price class (and logistical management ability) but this forum, in large part, is devoted to the uber portable and compact RME gear that I find such a value. I hope that I more than implied this when I compared the UFX' $2.2K cost with its 24 (is it?) converters to the $7.7K of the Weiss' two (note that the Weiss two channel mastering A to D is about $9K).
My reply post was to a question of how to describe, in words, the difference in sound between two D to A converters-doomed to failure-obviously. My Jitter(y) speculation was my "take" on what I had read. Yes I do have the impression that it's eaiser to A to D for recording than D to A for playback. However, I really have a limited amout of experience for such an observation and would rely on others for a such a conclusion.
Maybe a more useful comparative could be that my "IT guy" (civilian computer expert) was present when I made the change over to the Weiss DAC. He knew of my financial ambivalence in buying such an expensive box (the price of two two or more very fine desktop computers to him) but was astonished at the difference in sound-to his untrained ears.
For some decades I had tested analogue devices (notably speaker power amps and small signal amps/preamps) with the best, then, equipment. However, today as then, there are things that I and others can't measure but which do manifest themselves in different and occassionally "better" sound.
For this I would allude to my 8 amplifer combinations over two years as I escalated in cost, if not measured RMS watts, to drive my B&W monitor speakers. For such acoustic description nicities I would, in the future, refer you to those Golden Ears HiFi wordsmiths-just take your pick of their lush prose.
At least, for now, I am pausing in amplifer upgrades with the stasis of two monoblocked Burmester Mk IIIs for 350 hz up (350hz down is driven by class H "roadie" amps with 4 times the RMS power and 1/100 the cost-because I can't tell the difference in the lower frequencies)).
It's also notable that the wire I use to connect the Burmesters to the B&Ws costs twice as much as the four Tapcos (2500/2800 RMS watts monoblocked-each) used for the low end of the B&Ws and Subs.
Yes, I did try the cheap wire, the expensive wire and the now this more expensive wire.
I paid up for the wire because I could hear the difference in a few seconds and, yes, my IT guy can hear the difference too as well as my Pro Tools engineer. I am, complaisently, happy with the wire that cost only $2-3k per set ( atmdiscount 2 set in use) and am loath to demo the stuff that's a order of magnititude more. I also haven't listened to the Weiss ADC 2 (Lavery Gold, etc.) because I would need ten or eleven of them (about $90K+), a rack, a truck and an assistant to help me.
I don't know how you test "wire" either-to predict what it sounds like. So for those of you involved in such ambitious testing, whether digital or analogue, more power to you. I will be interesting in your methods, data and conclusions.