WEISS GAMBIT EQ1-MKII Manuel d'utilisateur télécharger pdf

1 k H z S i n 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 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 ]

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 morecould one say?" Bob Katz, Digital Domain, USA

The main featurescommon to all four models:

The EQ1-LP

The EQ1-DYN

All EQ1 modelscan 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: Highshelving, low shelving, peaking, high cut, low cut, bypass.

One parameter per knob operation. Seven sets of controls for seven operating bands.

Knobs are touchsensitive.

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 isthe benefit of two differentequalizers 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 determineexactly 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 beadjusted by the user, the threshold control.

"...the world's bestDe-Esser..."Bob Ludwig, Gateway Mastering, USA

Features of theDS1-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 withtwo different selectable timeconstants

auto gain makeup

monitoring button forlistening 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 forearly anticipation of level peaks

metering of inputlevel, output level, gain reduction

128 snapshots with2 times 128 snapshots backup

each parameter MIDIcontrollable, MIDI dump of snapshots

AES/EBU input /output

Full band crossoverin frequency selective mode (ranging from 41 Hz to 7.7kHz)

Upward expansion tore-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 controlin front of the peak-limiter for even higher loudness

88.2 / 96kHz 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 tobuy one." Rob Fraboni, Effortless Masters, USA

Features:

The DNA1 isavailable 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 frommono 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 or16bit.

All those standard features like 128 snapshots, MIDI Control, 24/96 operation, extensive

metering etc.

DNA1: full blownunit 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 wereexcellent." Alan Silverman, Arf! Digital, USA

The ADC2 uses state of the art A/D chips in our proven “correlation technique” configuration,

which lowers converterimperfections.

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 canbe switched on/off.

Supported sampling frequenciesare 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 tocomputers. (FireWire optional).

Synchronization can beinternal or external throughAES/EBU or BNC (Wordclock).

The built in digital peak limiter allows for setting a generous headroom on the analog inputs and

still get afull 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 asafety 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 controlis implemented in the DSPchip 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 mayhave occured.

"This is withoutany doubt the best D/Aso far."

Goran Finnberg, TheMastering 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 virtuallyimmune 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 samplingrate 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 beremote controlled.

Options:

The DAC1-MK3 can be equipped with these options:AFirewire interface, an USB interface with

DSD decoding capability, an ST type glass fiber input, an IR remote for volumecontrol.

"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 transparentvery acceptable to the ear."

Bob Katz, DigitalDomain, 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 wordlengthof any two arbitrary audio signals at the same time.

24bit single wirehigh-speedAES/EBU interfaces

40bit floating point/ 32bit fixed point processing

44.1 / 48/ 88.2 / 96kHz sampling frequencies supported

standalone 1HU 19"rackmount chassis

20 / 16bitwordlength reduction

auto-blacking for dithernoise

DIGITAL AUDIO PRODUCTS

1 2

Résumé du contenu

Page 1 - CONVERTER

1 k H z S i n 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- 2 000 5 3 8 3 1 0 7 6 7

Page 2 - FIREWIRE D/A CONVERTER

DIGITAL AUDIO PERFECTEDDIGITAL AUDIO PRODUCTS"Daniel Weiss has always led the way in high-end digital audio technology.”Bob Ludwig, Gateway Maste

Plus de documents pour Égalisateurs audio WEISS GAMBIT EQ1-MKII

Voir le document WEISS GAMBIT EQ1-MKII Instructions d'exploitation

WEISS GAMBIT EQ1-MKII Instructions d'exploitation (28 pages)

WEISS GAMBIT EQ1-MKII Instructions d'exploitation (26 pages)

WEISS GAMBIT EQ1-MKII Instructions d'exploitation (27 pages)

Commentaires sur ces manuels

Pas de commentaire

WEISS GAMBIT EQ1-MKII Manuel d'utilisateur

Naviguer en ligne ou télécharger Manuel d'utilisateur pour Égalisateurs audio WEISS GAMBIT EQ1-MKII. DIGITAL AUDIO PRODUCTS EQ1 DS1 DNA1 ADC2 DAC1 [da] Manuel d'utilisatio

Résumé du contenu

Plus de documents pour Égalisateurs audio WEISS GAMBIT EQ1-MKII

Commentaires sur ces manuels