Difference between revisions of "LavryGold AD122-96 MX"
Jump to navigation
Jump to search
Brad Johnson (talk | contribs) |
Brad Johnson (talk | contribs) |
||
| (2 intermediate revisions by the same user not shown) | |||
| Line 1: | Line 1: | ||
==Product Description== | ==Product Description== | ||
| − | The LavryGold AD122-96 | + | The LavryGold AD122-96 MX is a high-end stereo AD converter intended primarily for Mixing and Mastering applications; with [[balanced]] professional level [[XLR]] inputs and an XLR/[[AES]] digital output. There is a [[BNC]] [[Word Clock]] input and output, as well as an XLR/AES sync input for external synchronization. |
| − | The | + | The LavryGold AD122-96 MX offers increased ability to handle clipping without audible degradation compared to the [[LavryGold AD122-96 MkIII]]. |
| − | [http://www.lavryengineering.com/products/pro-audio/ad122-96- | + | [http://www.lavryengineering.com/products/pro-audio/ad122-96-mx.html For more information on the LavryGold AD122-96 MX click here] |
For general information [[analog to digital converter]]. | For general information [[analog to digital converter]]. | ||
==Features== | ==Features== | ||
| + | * Graceful handling of clipping allows more apparent level without loss of musicality | ||
*24 bit conversion at 96kHz, 88.2kHz, 48kHz and 44.1kHz | *24 bit conversion at 96kHz, 88.2kHz, 48kHz and 44.1kHz | ||
*Unequaled detail and performance | *Unequaled detail and performance | ||
| Line 32: | Line 33: | ||
===Line inputs=== | ===Line inputs=== | ||
| − | The AD122-96 | + | The AD122-96 MX has balanced XLR inputs. The balanced configuration is recommended for both [[balanced]] and [[unbalanced]] line level sources. Please note: for unbalanced connections, the peak input level is reduced to +18dBu. Use the front panel Gain trimmers to raise the input level a minimum of 6dB above the factory setting. |
| − | The XLR input is Pin 2 "+" and Pin 3 "-" for normal signal [[polarity]] when the Polarity setting in the Audio Control Screen is “+ POLARITY”. Thus, for the AD122-96 | + | The XLR input is Pin 2 "+" and Pin 3 "-" for normal signal [[polarity]] when the Polarity setting in the Audio Control Screen is “+ POLARITY”. Thus, for the AD122-96 MX with balanced or unbalanced Pin 2 "+" connections, the signal polarity is "normal" or "non-inverted." Changing the Audio Control Screen setting to “- POLARITY” will result in inverted signal polarity for balanced and unbalanced Pin 2 "+" connections. |
===Digital output=== | ===Digital output=== | ||
| − | The digital output of the AD122-96 | + | The digital output of the AD122-96 MX is a male XLR connector; which transmits [[AES]] stereo digital audio. The output can be used to feed most [[SPDIF]] inputs by using a simple wired XLR to [[RCA]] [[adapter]] or [[adapter cable]]. Use of an impedance matching transformer is not recommended as long as guidelines for coaxial SPDIF connection cable length are followed. |
===Synchronization=== | ===Synchronization=== | ||
| − | The AD122-96 | + | The AD122-96 MX provides [[BNC]] connections for Word Clock input and Word Clock output. The XLR AES Sync input can accept AES sync, and the type of sync is selectable in the Main screen of the front panel LCD display. The front panel also has a "Lock" indicator that illuminates when the AD122-96 MX is synchronized to the external input (but never during internal clock operation). There are setting for the sample frequency; which must be set properly for internal or external operation. Both “BNC WIDE LOCK” and “XLR AES WIDE LOCK” settings are provided for non-standard frequencies between 40 and 50 kHz (such as vari-speed applications); but will not provide as much immunity from jitter as the sample frequency specific modes, which employ a sophisticated crystal-referenced internal clock signal to ensure performance is virtually the same when operating on internal or external clock. |
| − | There are also "2X" settings to be used ONLY when feeding the AD122-96 | + | There are also "2X" settings to be used ONLY when feeding the AD122-96 MX a sync signal at one-half the digital audio output sample frequency in external clock operation. They appear as “BNC WC LOCK 88/44," “BNC WC LOCK 96/48,” “XLR AES LOCK 88/44,” and “XLR AES LOCK 96/48” in the Main Screen. |
===AC Power=== | ===AC Power=== | ||
| − | 90-264 [[VAC]] @ 47-63[[Hz]] , Fuses | + | 90-264 [[VAC]] @ 47-63[[Hz]] , Fuses ¾ Ampere Fast Blow 250V Fuse Size 5mm x 20mm (Replaces older 0.25inch x 1.25 inch size) This supersedes the former recommendation of ½ Ampere 250 volt fast blow fuses. New production units ship with 750mA (3/4 Ampere) 250 V FAST fuses installed. |
The power supply automatically adjusts to AC inputs in the range of 90 to 264 volts at line frequencies between 47 and 63 Hz. It is not necessary to change any settings. | The power supply automatically adjusts to AC inputs in the range of 90 to 264 volts at line frequencies between 47 and 63 Hz. It is not necessary to change any settings. | ||
| Line 54: | Line 55: | ||
==Operating tips== | ==Operating tips== | ||
| − | *The AD122-96 | + | *The “MX” feature is always active and cannot be bypassed. However, because it only affects signals above ~-2[[dBFS]], it is effectively “bypassed” for signals below this level (the vast majority of the audio program). Below this level, the MX retains all of the accuracy and detail of the MkIII model. |
| − | *The AD122-96 | + | * When employing “input clipping” to achieve elevated digital levels, use of some front panel Gain is recommended to avoid overloading the analog input stage prior to the input of the AD converter stage. For example; if the input level will exceed +24[[dBu]]; it is recommended that the minimum amount of gain corresponds roughly to the number of dB’s the input level would need to exceed +24dBu with the factory setting to achieve the desired amount of “clipping.” By increasing the Gain, the input level will remain below +24dBu and still result in the desired amount of “clipping” without overload at the input stage. |
| − | * The BNC Word Clock input of the AD122-96 | + | *The AD122-96 MX is calibrated at the factory for +24dBu = 0dBFS. If your studio uses +18dBu = 0dBFS (which is the same as “-14dBFS = 0dBVU = +4dBu); you will need to increase the input gain using the front panel GAIN trimmers. The FINE mode of the meters effectively “expands” the resolution of the meters around the reference level so that each LED segment equals a level change of 0.2dB (two-tenths of a dB). Both FINE mode On/Off setting and the reference level setting are available in the BAR-GRAPH & DISPLAY SCREEN. A The reference level can be set between -20 and -10 dBFS in one dB steps. |
| − | *The internal tone generator can be used to confirm the AD122-96 | + | *The AD122-96 MX will not un-mute unless it is receiving a valid clock signal in any external clock mode. This will only occur when the front panel Lock indicator is illuminated. When operating on external clock with a "known-good" analog signal connected to the inputs, if the AD122-96 MX does not appear to pass a signal (no activity on front panel meters and digital output is muted), check that the MAIN screen setting is to the correct sample frequency and type of sync (BNC or XLR AES). |
| − | + | * The BNC Word Clock input of the AD122-96 MX IS NOT internally terminated. Although in most cases termination is not necessary with short cables in point to point connection (the signal is not “chained” to other slave devices); if you experience problems getting the MkIII to lock to a “known-good” external BNC Word Clock signal, a [[BNC “T”]] should be placed on the Word Clock input of the MKIII and a 75 Ohm [[BNC terminator]] placed on the “T” opposite the incoming Word Clock cable to provide termination. External clock units that have termination “auto sensing” often require the AD122-96 MX’s Word Clock input be terminated to function properly. | |
| − | *The AD122-96 | + | *The internal tone generator can be used to confirm the AD122-96 MX digital output is connected and synchronized properly. The settings are available in the TEST TONE screen, and the analog input is muted when the internal tone generator is activated. |
| − | *The AD122-96 | + | *The AD122-96 MX has a sophisticated self-calibration system that initializes every time the unit is powered. There is a final stage of self-calibration that requires an input signal in the range around -25dBFS to complete. Please refer the “Warm-up and Calibration” for details. It is important to be aware of this function, and recommended that the procedure in the manual to complete the self-calibration be followed prior to recording; unless the unit is fed wide dynamic range music program for at least 10-15 minutes prior to recording. |
| + | *The AD122-96 MX generates a fair amount of heat internally; so do not mount the unit in a manner that blocks the ventilation holes in the top cover. Ideally, no other equipment should be mounted one rack space above and below the unit; but at the very least not directly above the unit. Factors such as the ambient temperature and range of temperature variation will affect how much space is needed to provide adequate ventilation. | ||
* The Lavry exclusive digital emulation of analog tape saturation ([[Soft saturation]] feature) provides a way to obtain higher average level while controlling peak level in a manner that does not produce undesirable side-effects. The process does not affect signals below the “threshold” except to increase the gain digitally by the amount of the setting (3 or 6 dB). Signals above the threshold are progressively “rounded-off” in a manner similar to tape saturation without time constants that could interact with compression or limiting applied either before or after conversion. The “6 dB” setting has a threshold of -12dBFS and is therefore best used for wide-dynamic range music program such as “live” recordings, or un-compressed or limited vocals or instruments. The “3 dB” setting has a threshold of -6dBFS making it better suited to program material that has already been compressed or limited. | * The Lavry exclusive digital emulation of analog tape saturation ([[Soft saturation]] feature) provides a way to obtain higher average level while controlling peak level in a manner that does not produce undesirable side-effects. The process does not affect signals below the “threshold” except to increase the gain digitally by the amount of the setting (3 or 6 dB). Signals above the threshold are progressively “rounded-off” in a manner similar to tape saturation without time constants that could interact with compression or limiting applied either before or after conversion. The “6 dB” setting has a threshold of -12dBFS and is therefore best used for wide-dynamic range music program such as “live” recordings, or un-compressed or limited vocals or instruments. The “3 dB” setting has a threshold of -6dBFS making it better suited to program material that has already been compressed or limited. | ||
| − | * The AD122- | + | * The AD122-96MX outputs the following status bits: Operating at 44.1 or 88.2 kHz, the sample frequency status bit is “44.1” and operating at 48 or 96 kHz, the sample frequency status bit is “48.” The CS CRC bit is not implemented; so devices that monitor the status bits may show this as a “CS CRC error.” For this reason; it may be necessary to manually select the setting to “ignore errors” or deselect a “Mute on error” setting in the receiving interface to allow the audio to pass normally. |
===Software=== | ===Software=== | ||
The current software revision which is displayed during initialization on the front panel LCD screen is: 2.1e | The current software revision which is displayed during initialization on the front panel LCD screen is: 2.1e | ||
==Upgrade/Repair== | ==Upgrade/Repair== | ||
| − | The previous model AD122-96 | + | The previous model AD122-96 MkIII can be upgraded to the MX version. All MkII converters returned for service will be upgraded to the MkIII or MX version as a matter of policy. |
Please note that ALL models previous to the MkII cannot be repaired or upgraded due to lack of availability of parts used in these models (the parts were discontinued by the companies which manufactured them). | Please note that ALL models previous to the MkII cannot be repaired or upgraded due to lack of availability of parts used in these models (the parts were discontinued by the companies which manufactured them). | ||
==Links== | ==Links== | ||
| − | *[http://lavryengineering.com/pdfs/lavry-ad122- | + | *[http://lavryengineering.com/pdfs/lavry-ad122-96mx-manual.pdf AD122-96MX Manual] |
*[http://www.lavryengineering.com/pdfs/lavry-white-paper-the_optimal_sample_rate_for_quality_audio.pdf The Optimal Sample Rate for Quality Audio] | *[http://www.lavryengineering.com/pdfs/lavry-white-paper-the_optimal_sample_rate_for_quality_audio.pdf The Optimal Sample Rate for Quality Audio] | ||
[[Category:lavry products]] | [[Category:lavry products]] | ||
[[Category:lavry analog to digital converters]] | [[Category:lavry analog to digital converters]] | ||
Latest revision as of 14:18, 28 September 2018
Product Description
The LavryGold AD122-96 MX is a high-end stereo AD converter intended primarily for Mixing and Mastering applications; with balanced professional level XLR inputs and an XLR/AES digital output. There is a BNC Word Clock input and output, as well as an XLR/AES sync input for external synchronization.
The LavryGold AD122-96 MX offers increased ability to handle clipping without audible degradation compared to the LavryGold AD122-96 MkIII.
For more information on the LavryGold AD122-96 MX click here
For general information analog to digital converter.
Features
- Graceful handling of clipping allows more apparent level without loss of musicality
- 24 bit conversion at 96kHz, 88.2kHz, 48kHz and 44.1kHz
- Unequaled detail and performance
- True -127dB noise floor
- 0.00005% Total Harmonic Distortion + Noise
- Lavry’s exclusive αcoustic βit Correction™ for wordlength reduction with dither and noise shaping
- Switchable Lavry exclusive Soft saturation, +3 or +6dB gain
- Precision reference meter bridge
- Fully programmable digital test tones for system alignment
- AES and word clock external synchronization 40-51kHz, 88.2kHz, 96kHz
- DC removal
- Absolute Polarity Inversion
- Multi-converter synchronization
Applications
- Tracking
- Mixing
- Mastering
- Post Production
Connections
Line inputs
The AD122-96 MX has balanced XLR inputs. The balanced configuration is recommended for both balanced and unbalanced line level sources. Please note: for unbalanced connections, the peak input level is reduced to +18dBu. Use the front panel Gain trimmers to raise the input level a minimum of 6dB above the factory setting.
The XLR input is Pin 2 "+" and Pin 3 "-" for normal signal polarity when the Polarity setting in the Audio Control Screen is “+ POLARITY”. Thus, for the AD122-96 MX with balanced or unbalanced Pin 2 "+" connections, the signal polarity is "normal" or "non-inverted." Changing the Audio Control Screen setting to “- POLARITY” will result in inverted signal polarity for balanced and unbalanced Pin 2 "+" connections.
Digital output
The digital output of the AD122-96 MX is a male XLR connector; which transmits AES stereo digital audio. The output can be used to feed most SPDIF inputs by using a simple wired XLR to RCA adapter or adapter cable. Use of an impedance matching transformer is not recommended as long as guidelines for coaxial SPDIF connection cable length are followed.
Synchronization
The AD122-96 MX provides BNC connections for Word Clock input and Word Clock output. The XLR AES Sync input can accept AES sync, and the type of sync is selectable in the Main screen of the front panel LCD display. The front panel also has a "Lock" indicator that illuminates when the AD122-96 MX is synchronized to the external input (but never during internal clock operation). There are setting for the sample frequency; which must be set properly for internal or external operation. Both “BNC WIDE LOCK” and “XLR AES WIDE LOCK” settings are provided for non-standard frequencies between 40 and 50 kHz (such as vari-speed applications); but will not provide as much immunity from jitter as the sample frequency specific modes, which employ a sophisticated crystal-referenced internal clock signal to ensure performance is virtually the same when operating on internal or external clock. There are also "2X" settings to be used ONLY when feeding the AD122-96 MX a sync signal at one-half the digital audio output sample frequency in external clock operation. They appear as “BNC WC LOCK 88/44," “BNC WC LOCK 96/48,” “XLR AES LOCK 88/44,” and “XLR AES LOCK 96/48” in the Main Screen.
AC Power
90-264 VAC @ 47-63Hz , Fuses ¾ Ampere Fast Blow 250V Fuse Size 5mm x 20mm (Replaces older 0.25inch x 1.25 inch size) This supersedes the former recommendation of ½ Ampere 250 volt fast blow fuses. New production units ship with 750mA (3/4 Ampere) 250 V FAST fuses installed.
The power supply automatically adjusts to AC inputs in the range of 90 to 264 volts at line frequencies between 47 and 63 Hz. It is not necessary to change any settings.
See LavryGold voltage setting for details on the AC power voltage setting and accessing the fuses.
Operating tips
- The “MX” feature is always active and cannot be bypassed. However, because it only affects signals above ~-2dBFS, it is effectively “bypassed” for signals below this level (the vast majority of the audio program). Below this level, the MX retains all of the accuracy and detail of the MkIII model.
- When employing “input clipping” to achieve elevated digital levels, use of some front panel Gain is recommended to avoid overloading the analog input stage prior to the input of the AD converter stage. For example; if the input level will exceed +24dBu; it is recommended that the minimum amount of gain corresponds roughly to the number of dB’s the input level would need to exceed +24dBu with the factory setting to achieve the desired amount of “clipping.” By increasing the Gain, the input level will remain below +24dBu and still result in the desired amount of “clipping” without overload at the input stage.
- The AD122-96 MX is calibrated at the factory for +24dBu = 0dBFS. If your studio uses +18dBu = 0dBFS (which is the same as “-14dBFS = 0dBVU = +4dBu); you will need to increase the input gain using the front panel GAIN trimmers. The FINE mode of the meters effectively “expands” the resolution of the meters around the reference level so that each LED segment equals a level change of 0.2dB (two-tenths of a dB). Both FINE mode On/Off setting and the reference level setting are available in the BAR-GRAPH & DISPLAY SCREEN. A The reference level can be set between -20 and -10 dBFS in one dB steps.
- The AD122-96 MX will not un-mute unless it is receiving a valid clock signal in any external clock mode. This will only occur when the front panel Lock indicator is illuminated. When operating on external clock with a "known-good" analog signal connected to the inputs, if the AD122-96 MX does not appear to pass a signal (no activity on front panel meters and digital output is muted), check that the MAIN screen setting is to the correct sample frequency and type of sync (BNC or XLR AES).
- The BNC Word Clock input of the AD122-96 MX IS NOT internally terminated. Although in most cases termination is not necessary with short cables in point to point connection (the signal is not “chained” to other slave devices); if you experience problems getting the MkIII to lock to a “known-good” external BNC Word Clock signal, a BNC “T” should be placed on the Word Clock input of the MKIII and a 75 Ohm BNC terminator placed on the “T” opposite the incoming Word Clock cable to provide termination. External clock units that have termination “auto sensing” often require the AD122-96 MX’s Word Clock input be terminated to function properly.
- The internal tone generator can be used to confirm the AD122-96 MX digital output is connected and synchronized properly. The settings are available in the TEST TONE screen, and the analog input is muted when the internal tone generator is activated.
- The AD122-96 MX has a sophisticated self-calibration system that initializes every time the unit is powered. There is a final stage of self-calibration that requires an input signal in the range around -25dBFS to complete. Please refer the “Warm-up and Calibration” for details. It is important to be aware of this function, and recommended that the procedure in the manual to complete the self-calibration be followed prior to recording; unless the unit is fed wide dynamic range music program for at least 10-15 minutes prior to recording.
- The AD122-96 MX generates a fair amount of heat internally; so do not mount the unit in a manner that blocks the ventilation holes in the top cover. Ideally, no other equipment should be mounted one rack space above and below the unit; but at the very least not directly above the unit. Factors such as the ambient temperature and range of temperature variation will affect how much space is needed to provide adequate ventilation.
- The Lavry exclusive digital emulation of analog tape saturation (Soft saturation feature) provides a way to obtain higher average level while controlling peak level in a manner that does not produce undesirable side-effects. The process does not affect signals below the “threshold” except to increase the gain digitally by the amount of the setting (3 or 6 dB). Signals above the threshold are progressively “rounded-off” in a manner similar to tape saturation without time constants that could interact with compression or limiting applied either before or after conversion. The “6 dB” setting has a threshold of -12dBFS and is therefore best used for wide-dynamic range music program such as “live” recordings, or un-compressed or limited vocals or instruments. The “3 dB” setting has a threshold of -6dBFS making it better suited to program material that has already been compressed or limited.
- The AD122-96MX outputs the following status bits: Operating at 44.1 or 88.2 kHz, the sample frequency status bit is “44.1” and operating at 48 or 96 kHz, the sample frequency status bit is “48.” The CS CRC bit is not implemented; so devices that monitor the status bits may show this as a “CS CRC error.” For this reason; it may be necessary to manually select the setting to “ignore errors” or deselect a “Mute on error” setting in the receiving interface to allow the audio to pass normally.
Software
The current software revision which is displayed during initialization on the front panel LCD screen is: 2.1e
Upgrade/Repair
The previous model AD122-96 MkIII can be upgraded to the MX version. All MkII converters returned for service will be upgraded to the MkIII or MX version as a matter of policy.
Please note that ALL models previous to the MkII cannot be repaired or upgraded due to lack of availability of parts used in these models (the parts were discontinued by the companies which manufactured them).