DIGITAL AUDIO PRODUCTS - weiss.ch · Three state of the art algorithms are packed into the DNA1....
2
1kHz S in e 0dB Converted From 96kHz to 44.1kHz -180 -160 -140 -120 -100 -80 -60 -40 -20 0 0 5383 10767 16150 21533 Frequency [H z ] Amplitude[dBFS] DIGITAL AUDIO PRODUCTS EQ1 DS1 DNA1 ADC2 DAC1-MK3 SFC2 7-BAND EQUALIZER COMPRESSOR LIMITER DE-ESSER DENOISER DECLICKER AMBIENCE REGEN. 2CH A/D CONVERTER 2CH D/A CONVERTER 2CH SAMPLING RATE CONVERTER "My main comment is the sound is very very good, lovely, warm and beautiful, very analog-like. What more could one say?" Bob Katz, Digital Domain, USA The main features common to all four models: The EQ1-LP The EQ1-DYN All EQ1 models can be user upgraded to any other model. The EQ1 is available in four different configurations. All of them work at 24/96. The basic model is the EQ1-MK2, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. Seven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost/Cut, Frequency and Q/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. One parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. Digital input / output in AES/EBU format on XLR connectors. Dithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LPmodels. M/S mode for independent equalization of M and S channels. M/S encoder / decoder can be configured separately. is the EQ1-MK2 with linear phase response, has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Linear phase response means that the delay introduced by processing is constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency. The sound, or character, of an equalizer has been said to be influenced by phase response.The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.The linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine. is the EQ1-MK2 with four dynamic bands. First the EQ is adjusted to a nominal setting, then the input signal is analyzed to determine exactly how much equalization need to be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, frequencies are only attenuated when they exceed a certain level. The EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. ! ! ! ! "...the world's best De-Esser..." Bob Ludwig, Gateway Mastering, USA Features of the DS1-MK3: DS1 or DS1-MK2 units can be user upgraded to the DS1-MK3 model. The DS1-MK3 is the latest variant of the renowned DS1 Compressor / Limiter / DeEsser. In De- Esser mode the compression band is selectable as a lowpass, bandpass or highpass and thus extends the functionality beyond de-essing. Extensive factory preset library programmed by Mr. Bob Katz M/S mode L/R (or M/S) can be processed independently soft knee feature auto release with two different selectable time constants auto gain makeup monitoring button for listening to the bandsplit signal dual mode unit (DeEsser or Compressor/Limiter) oversampling sidechain and audio path linear-phase band splitter overall delay controllable in multiples of video frames preview delay for early anticipation of level peaks metering of input level, output level, gain reduction 128 snapshots with 2 times 128 snapshots backup each parameter MIDI controllable, MIDI dump of snapshots AES/EBU input / output Full band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz) Upward expansion to re-introduce dynamics in previously compressed signals A second completely independent dynamics section working as a final peak-limiter in both modes (frequency selective and full band compressor) Parallel compression mode for artefact-free operation Additional gain control in front of the peak-limiter for even higher loudness 88.2 / 96 kHz operation POW-R dithering ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! " Sorry I haven't gotten a chance to tell you sooner how much I like the DNA1. I would definitely like to buy one." Rob Fraboni, Effortless Masters, USA Features: The DNA1 is available in four variants: All DNA1 models can be user upgraded to any other model. The DNA1 unit represents a milestone in the Gambit Series equipment developments at Weiss Engineering. Three state of the art algorithms are packed into the DNA1. The denoiser has been developed in cooperation with the PureNotes Company (UK), the decrackler and declicker algorithms have been designed in our own R&D lab and finally the K-Stereo Ambience Processor we licensed from Mr. Bob Katz (USA). Best is that all functions can be used concurrently. Denoiser to reduce all types of wideband and non-stationary noises like tape hiss or aircondition hum using a novel adaptive approach to noise reduction (no spectral noise footprint required). Decrackler / Declicker to detect and remove a broad range of impulsive noises, for example scratches and clicks from vinyl recordings. K-Stereo Processor to recover lost or amplify hidden ambience, space, and imaging; or to generate stereo from mono signals without adding artificial reverberation. Output Control to regulate stereo balance and stereo width, as well as the overall signal level. POW-R, the acclaimed technique for transparent and smooth word-length reduction to 24bit, 20bit or 16bit. All those standard features like 128 snapshots, MIDI Control, 24/96 operation, extensive metering etc. DNA1: full blown unit with all features DNA1-K: K-Stereo / M/S Control only DNA1-N: Denoiser / K-Stereo / M/S Control only DNA1-C: Declicker / K-Stereo / M/S Control only ! ! ! ! ! ! "Jim Anderson just finished using the ADC2 to capture the stereo mixdown of the new DD Jackson album and the new Patricia Barber CD for Bluenote at Avatar studios at 96k. The results were excellent." Alan Silverman, Arf! Digital, USA The ADC2 uses state of the art A/D chips in our proven “correlation technique” configuration, which lowers converter imperfections. The analog input stages are kept balanced from the input connectors throughout to the converter chips. A high quality microphone preamplifier is built in as a standard feature. 48V phantom power can be switched on/off. Supported sampling frequencies are 44.1, 48, 88.2, 96, 176.4 and 192 kHz. Output formats are AES/EBU in one or two wire technique, S/PDIF as well as Firewire for a direct connection to computers. (FireWire optional). Synchronization can be internal or external through AES/EBU or BNC (Wordclock). The built in digital peak limiter allows for setting a generous headroom on the analog inputs and still get a full scale signal at the converter’s output. A large bar graph shows the level to the A/D input, the output level and the gain reduction in the aforementioned Limiter. Numerical readouts indicate input and output gains, limiter thresholds and peak levels The output wordlength can be reduced from 24 to 16 bits with the built in POW-R dithering. It is possible to have one output running at 24 bits and another one at 16 bits. This feature comes handy when a safety copy to e.g. a DAT has to be made. The analog input sensitivity can be set in 1dB steps via a relais controlled attenuator. An additional gain control is implemented in the DSP chip in the digital domain. Both channel 1 and channel 2 are fully independent, except for the sampling rate and for the dither settings. The AES/EBU sync input can be used as a digital audio input. This allows to limit and / or dither digital audio signals. The peak hold feature can be used to monitor a transfer and check for overloads which may have occured. "This is without any doubt the best D/A so far." Goran Finnberg, The Mastering Room, Sweden Inputs: Synchronization: Converters: Outputs: Remote: The DAC1-MK3 is a stereo 24 bit / 192khz D/A converter designed with the aim of keeping an absolutely uncompromised audio signal path. Much detail and thought was spent on the digital input as well as the analogue output stage. Both have in common the purest possible approach in audio design, aspiring for nothing less than excellence. The DAC1-MK3 uses the latest in converter technology. This combination makes a truly professional D/A converter catering for the highest expectations. There are three digital inputs on XLR connectors, and one on Toslink (optical). The accepted sampling frequencies are 44.1, 48, 88.2, 96, 176.4 and 192kHz. AES/EBU signals on a single connector are used. For sampling rates of 88.2kHz or higher the dual wire AES/EBU scheme can be used. Each XLR input is actively routed to a corresponding XLR digital output, allowing monitoring at multiple stages in a digital studio setup. Several signal reclocking schemes are combined for extremely high jitter attenuation, making the DAC1-MK3 virtually immune to jitter over a very wide bandwidth. The correlation technique (using two converters per channel) which is also successfully employed in the ADC2 gives the DAC1-MK3 an edge over other D/A converters with equal wordlength and sampling rate specifications, resulting in improved SNR and THD. The Class A output stages built with our own discrete OP-Amps have a very low output impedance and can drive large loads without stability problems. Output levels can be set between -infinity and +27dBu. The outputs are symmetrical, but do not have any sound degrading servo mechanisms built in. By hooking up an analog potentiometer or fader to the remote connector, the output level can be remote controlled. This level control happens in the digital domain. The input source selection can also be remote controlled. Options: The DAC1-MK3 can be equipped with these options: A Firewire interface, an USB interface with DSD decoding capability, an ST type glass fiber input, an IR remote for volume control. "The Weiss SFC-2 is an EXCELLENT SRC, maybe the best one-step SRC in the world. One up-down-up or down-up-down pass through that is nearly transparent, and even when not transparent very acceptable to the ear." Bob Katz, Digital Domain, USA Features are: Standard sampling frequency converter chips continuously measure the input frequency and then generate the output frequency and the filter specifications accordingly. This results in coefficient "jitter" because the input signal sampling frequency jitter modulates the cutoff frequency of the digital filter. The SFC2 uses a fixed-ratio scheme where the output is directly derived from the input sampling frequency - therefore no coefficient "jitter", no filter modulation, more transparency. The main application of the SFC2 is integrating playback or outboard equipment into an environment that either runs at double- or standard-sampling frequency. To allow this equipment to be positioned anywhere in the processing chain, the SFC2 features two completely independent two-channel sampling frequency converters to simultaneously down- and up-sample a signal.Alternatively, it can also be used to convert the sampling frequency and reduce the wordlength of any two arbitrary audio signals at the same time. 24bit single wire high-speed AES/EBU interfaces 40bit floating point / 32bit fixed point processing 44.1 / 48 / 88.2 / 96kHz sampling frequencies supported standalone 1HU 19" rackmount chassis ! ! 20 / 16bit wordlength reduction auto-blacking for dither noise ! ! ! ! DIGITAL AUDIO PRODUCTS
Transcript of DIGITAL AUDIO PRODUCTS - weiss.ch · Three state of the art algorithms are packed into the DNA1....
1 k H z S in e 0 d B C o n v e r t e d F r o m 9 6 k H z t o 4 4 . 1 k H z
- 1 8 0
- 1 6 0
- 1 4 0
- 1 2 0
- 1 0 0
- 8 0
- 6 0
- 4 0
- 2 0
0
0 5 3 8 3 1 0 7 6 7 1 6 1 5 0 2 1 5 3 3
F r e q u e n c y [ H z ]
Am
plitu
de[d
BFS
]
DIGITAL AUDIO PRODUCTS
EQ1
DS1
DNA1
ADC2
DAC1-MK3
SFC2
7-BAND EQUALIZER
COMPRESSOR
LIMITER
DE-ESSER
DENOISER
DECLICKER
AMBIENCE REGEN.
2CH A/D CONVERTER
2CH D/A CONVERTER
2CH SAMPLING RATE
CONVERTER
"My main comment is the sound is very very good, lovely, warm and beautiful, veryanalog-like. What more could one say?" Bob Katz, Digital Domain, USA
The main features common to all four models:
The EQ1-LP
The EQ1-DYN
All EQ1 models can be user upgraded to any other model.
The EQ1 is available in four different configurations. All of them work at 24/96. The basic modelis the EQ1-MK2, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. TheEQ1-DYN-LP incorporates both LP and DYN versions in one unit.
Seven identical parametric bands. All seven bands cover the entire audio frequency range.Each band has Boost/Cut, Frequency and Q/Slope knobs. Each band operates in any of thefollowing modes: High shelving, low shelving, peaking, high cut, low cut, bypass.One parameter per knob operation. Seven sets of controls for seven operating bands.Knobs are touch sensitive.Digital input / output in AES/EBU format on XLR connectors. Dithering to 16, 20 or 24 bits.POW-R dithering in the LP, DYN and DYN-LP models.M/S mode for independent equalization of M and S channels. M/S encoder / decoder can beconfigured separately.
is the EQ1-MK2 with linear phase response, has the same parameter set as theEQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Linear phase responsemeans that the delay introduced by processing is constant across the whole spectrum,unconstrained by eq settings - this is not the case with standard equalizers, where signal delayvaries with frequency. The sound, or character, of an equalizer has been said to be influencedby phase response.The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment,without the unwanted phase distortion added by standard equalizers.The linear phase featurecan be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sounddesigning, there is the benefit of two different equalizers in one machine.
is the EQ1-MK2 with four dynamic bands. First the EQ is adjusted to a nominalsetting, then the input signal is analyzed to determine exactly how much equalization need to beapplied. If the signal is already loud in a certain band, it is not boosted even more. Or,alternatively, frequencies are only attenuated when they exceed a certain level. The EQ1-DYNfeatures four freely adjustable dynamic bands, and additionally three linear bands per channel.Setting up the dynamic bands is as easy as setting a linear band. There is just one additionalparameter to be adjusted by the user, the threshold control.
!
!
!
!
"...the world's best De-Esser..." Bob Ludwig, Gateway Mastering, USA
Features of the DS1-MK3:
DS1 or DS1-MK2 units can be user upgraded to the DS1-MK3 model.
The DS1-MK3 is the latest variant of the renowned DS1 Compressor / Limiter / DeEsser. In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and thusextends the functionality beyond de-essing.
Extensive factory preset library programmed by Mr. Bob KatzM/S modeL/R (or M/S) can be processed independentlysoft knee featureauto release with two different selectable time constantsauto gain makeupmonitoring button for listening to the bandsplit signaldual mode unit (DeEsser or Compressor/Limiter)oversampling sidechain and audio path
linear-phase band splitteroverall delay controllable in multiples of video framespreview delay for early anticipation of level peaksmetering of input level, output level, gain reduction128 snapshots with 2 times 128 snapshots backupeach parameter MIDI controllable, MIDI dump of snapshotsAES/EBU input / outputFull band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz)Upward expansion to re-introduce dynamics in previously compressed signalsA second completely independent dynamics section working as a final peak-limiter in bothmodes (frequency selective and full band compressor)Parallel compression mode for artefact-free operationAdditional gain control in front of the peak-limiter for even higher loudness88.2 / 96 kHz operationPOW-R dithering
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
" Sorry I haven't gotten a chance to tell you sooner how much I like the DNA1. I woulddefinitely like to buy one." Rob Fraboni, Effortless Masters, USA
Features:The DNA1 is available in four variants:
All DNA1 models can be user upgraded to any other model.
The DNA1 unit represents a milestone in the Gambit Series equipment developments at WeissEngineering. Three state of the art algorithms are packed into the DNA1. The denoiser hasbeen developed in cooperation with the PureNotes Company (UK), the decrackler anddeclicker algorithms have been designed in our own R&D lab and finally the K-StereoAmbience Processor we licensed from Mr. Bob Katz (USA). Best is that all functions can beused concurrently.
Denoiser to reduce all types of wideband and non-stationary noises like tape hiss oraircondition hum using a novel adaptive approach to noise reduction (no spectral noisefootprint required).Decrackler / Declicker to detect and remove a broad range of impulsive noises, for examplescratches and clicks from vinyl recordings.
K-Stereo Processor to recover lost or amplify hidden ambience, space, and imaging; or togenerate stereo from mono signals without adding artificial reverberation.Output Control to regulate stereo balance and stereo width, as well as the overall signallevel.POW-R, the acclaimed technique for transparent and smooth word-length reduction to24bit, 20bit or 16bit.All those standard features like 128 snapshots, MIDI Control, 24/96 operation, extensivemetering etc.
DNA1: full blown unit with all featuresDNA1-K: K-Stereo / M/S Control onlyDNA1-N: Denoiser / K-Stereo / M/S Control onlyDNA1-C: Declicker / K-Stereo / M/S Control only
!
!
!
!
!
!
"Jim Anderson just finished using the ADC2 to capture the stereo mixdown of the newDD Jackson album and the new Patricia Barber CD for Bluenote at Avatar studios at 96k.The results were excellent."Alan Silverman,Arf! Digital, USA
The ADC2 uses state of the art A/D chips in our proven “correlation technique” configuration,which lowers converter imperfections.
The analog input stages are kept balanced from the input connectors throughout to theconverter chips. A high quality microphone preamplifier is built in as a standard feature. 48Vphantom power can be switched on/off.
Supported sampling frequencies are 44.1, 48, 88.2, 96, 176.4 and 192 kHz.
Output formats are AES/EBU in one or two wire technique, S/PDIF as well as Firewire for adirect connection to computers. (FireWire optional).
Synchronization can be internal or external throughAES/EBU or BNC (Wordclock).
The built in digital peak limiter allows for setting a generous headroom on the analog inputs andstill get a full scale signal at the converter’s output.
A large bar graph shows the level to the A/D input, the output level and the gain reduction in theaforementioned Limiter. Numerical readouts indicate input and output gains, limiter thresholdsand peak levels
The output wordlength can be reduced from 24 to 16 bits with the built in POW-R dithering. It ispossible to have one output running at 24 bits and another one at 16 bits. This feature comeshandy when a safety copy to e.g. a DAT has to be made.
The analog input sensitivity can be set in 1dB steps via a relais controlled attenuator. Anadditional gain control is implemented in the DSP chip in the digital domain.
Both channel 1 and channel 2 are fully independent, except for the sampling rate and for thedither settings.
The AES/EBU sync input can be used as a digital audio input. This allows to limit and / or ditherdigital audio signals. The peak hold feature can be used to monitor a transfer and check foroverloads which may have occured.
"This is without any doubt the best D/Aso far."Goran Finnberg, The Mastering Room, Sweden
Inputs:
Synchronization:
Converters:
Outputs:
Remote:
The DAC1-MK3 is a stereo 24 bit / 192khz D/A converter designed with the aim of keeping anabsolutely uncompromised audio signal path. Much detail and thought was spent on the digitalinput as well as the analogue output stage. Both have in common the purest possible approachin audio design, aspiring for nothing less than excellence. The DAC1-MK3 uses the latest inconverter technology. This combination makes a truly professional D/A converter catering forthe highest expectations.
There are three digital inputs on XLR connectors, and one on Toslink (optical). The acceptedsampling frequencies are 44.1, 48, 88.2, 96, 176.4 and 192kHz. AES/EBU signals on a singleconnector are used. For sampling rates of 88.2kHz or higher the dual wire AES/EBU schemecan be used. Each XLR input is actively routed to a corresponding XLR digital output, allowingmonitoring at multiple stages in a digital studio setup.
Several signal reclocking schemes are combined for extremely high jitter attenuation, makingthe DAC1-MK3 virtually immune to jitter over a very wide bandwidth.
The correlation technique (using two converters per channel) which is also successfullyemployed in the ADC2 gives the DAC1-MK3 an edge over other D/A converters with equalwordlength and sampling rate specifications, resulting in improved SNR and THD.
The Class A output stages built with our own discrete OP-Amps have a very low outputimpedance and can drive large loads without stability problems. Output levels can be setbetween -infinity and +27dBu. The outputs are symmetrical, but do not have any sounddegrading servo mechanisms built in.
By hooking up an analog potentiometer or fader to the remote connector, the output level can beremote controlled. This level control happens in the digital domain. The input source selectioncan also be remote controlled.
Options:The DAC1-MK3 can be equipped with these options:AFirewire interface, an USB interface withDSD decoding capability, an ST type glass fiber input, an IR remote for volume control.
"The Weiss SFC-2 is an EXCELLENT SRC, maybe the best one-step SRC in the world.One up-down-up or down-up-down pass through that is nearly transparent, and evenwhen not transparent very acceptable to the ear."Bob Katz, Digital Domain, USA
Features are:
Standard sampling frequency converter chips continuously measure the input frequency andthen generate the output frequency and the filter specifications accordingly. This results incoefficient "jitter" because the input signal sampling frequency jitter modulates the cutofffrequency of the digital filter. The SFC2 uses a fixed-ratio scheme where the output is directlyderived from the input sampling frequency - therefore no coefficient "jitter", no filter modulation,more transparency.
The main application of the SFC2 is integrating playback or outboard equipment into anenvironment that either runs at double- or standard-sampling frequency. To allow thisequipment to be positioned anywhere in the processing chain, the SFC2 features twocompletely independent two-channel sampling frequency converters to simultaneously down-and up-sample a signal.Alternatively, it can also be used to convert the sampling frequency andreduce the wordlength of any two arbitrary audio signals at the same time.
24bit single wire high-speedAES/EBU interfaces40bit floating point / 32bit fixed point processing44.1 / 48 / 88.2 / 96kHz sampling frequencies supportedstandalone 1HU 19" rackmount chassis
!
!
20 / 16bit wordlength reductionauto-blacking for dither noise
!
!
!
!
DIGITAL AUDIO PRODUCTS
DIGITAL AUDIO PERFECTEDDIGITAL AUDIO PRODUCTS
"Daniel Weiss has always led the way in high-end digital audio technology.”
Bob Ludwig, Gateway Mastering & DVD
Contact information: Weiss Engineering Ltd., Florastrasse 42, 8610 Uster / Zurich, Switzerland
Phone: +41 44 940 20 06, Fax: +41 44 940 22 14, Email: [email protected],
PCM to PCM Features:
DSD (PCM to DSD and DSD 2 PCM) Features:
Other features:
Saracon is a versatile multichannel file format and sampling rate conversion tool ofutmost quality. All standard sampling rates between 44.1kHz and 384kHz aresupported. POW-R dithering is also included. Saracon runs on Windows and Macplatforms. The Saracon-DSD version additionally supports PCM to DSD and DSD toPCM conversions.
Sampling rates: 44.1k, 48k, 88.2k, 96k, 176.4k, 192k, 352.8k, 384k Word lengths:16/24/32 bit fixed point, 32/64 IEEE floatFile formats: wav, aiff, BWF, RF64, sd2, caf, FLAC, Ogg/Vorbis, au, paf, mat, SFwav 64, raw (output only)Wordlength reduction: Flat TPDF dither, POW-r 1, POW-r 2, POW-r 3, no ditherTHD+N PCM to PCM: Better than -180dB for 32 Bit fixed point I/O, unweightedBuilt in test signal generator
DSD file formats: DSDIFFDSD sampling rates: 2822400 MHz, 5644800 MHzPCM I/O as in standard versionChoice of 3 different modulatorsTHD+N PCM to DSD: Better than -147dB for 32 Bit fixed point input, unweightedExtensive DSD conversion analysisNoise shaped ditherLog window shows time tagged events (e.g. overs)Non-volatile level/peak meter/history with full featured viewer.DSD test signal generator
Unlimited number of channelsInterleaving and non-interleaving batch modes, super batch modeWeiss quality conversion algorithms and user interfaceTime code/time reference transfers between BWF, RF64 and DSDIFFCommand line operation
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
SARACONSAMPLING RATE CONVERSION
SOFTWARE FOR PC AND MAC“Now that I’ve used it on everything I do, it is the only resampler I can listen to...”George Massenburg, USA
FIREWIRE D/A CONVERTER
Overview:
Inputs / Outputs:
Sampling Rates:
Synchronization:
Software:
Mechanical:
The AFI1 is a 24 channel Firewire Interface with 8 channels of bidirectional AES/EBUinterfaces and 16 channels of bidirectional ADAT interfaces in a 19 inch 1HU frame.The AFI1 simultaneously supports the following conversions:
Firewire to AES/EBU (8 channels)AES/EBU to Firewire (8 channels)Firewire to ADAT ( 16 channels max.)ADAT to Firewire ( 16 channels max.)
Digital Audio I/O on Firewire (two connectors), XLR (AES/EBU), Toslink (ADAT, twoconnectors).
AES/EBU switchable to dual wire operation for sampling rates of 176.4 or 192 kHz.ADAT interface can be switched off to release Firewire bus capacity.
44.1, 48, 88.2, 96, 176.4, 192 kHz.Number of ADAT channels at 44.1/48: 16, at 88.2/96: 8, at 176.4/192: 4.
Internal or external via AES/EBU inputs or via Wordsync I/O on BNC connectors.The frequency of the Wordsync I/O in dual wire mode can be selected.
Drivers for Windows™ and OSX™ operating systems.
19 inch, 1HU frame.
!
!
!
!
!
!
!
!
!
!
!
AFI124 channel Firewire,
AES/EBU and ADAT
Interface
DAC2
The DAC2 is a high performance stereo Firewire based digital to analog and digital todigital converter for usage either standalone or in conjunction with a PC or MACcomputer. The DAC2 supports the following conversions:Firewire to analog, AES/EBU to analog, Firewire to AES/EBU, AES/EBU to Firewire
Inputs: Digital Audio inputs on Firewire (two connectors), XLR, RCA and Toslink.Single and double wire formats supported.Outputs: Stereo analog output on XLR and RCA. Digital Audio output on Firewire,XLR and RCA.Sampling Rates, Wordlength: 44.1, 48, 88.2, 96, 176.4, 192 kHz at up to 24 Bits.Software: Drivers for Windows™ and OSX™ operating systems.Volume control in the digital domainInsert mode for “digital effects” insert4 step analog output level trim
Features of the DAC2:!
!
!
!
!
!
!
Single and double wire formats supported.
