LavryGold AD122-96 MkIII

Product Description

The LavryGold AD122-96 MkIII 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.

For more information on the LavryGold AD122-96 MkIII click here

For general information analog to digital converter.

Features

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 digital soft-knee limiter, +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

1.) Line inputs The AD122-96 MkIII has balanced XLR inputs. The balanced configuration is recommended for both balanced and unbalanced line level sources.

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 MkIII 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. 2.) Digital output The digital output of the AD122-96 MkIII 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. 3.) Synchronization The AD122-96 MkIII 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 MkIII 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 as when operating on internal or external clock. There are also "2X" settings to be used ONLY when feeding the AD122-96 MkIII 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.

Operating tips

The AD122-96 MkIII 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 MkIII 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. If with a "known-good" analog signal connected to the inputs, the AD122-96 MkIII does not appear to pass a signal (no activity on front panel meters and digital output is muted) when operating on external clock, 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 MkIII 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 NNC 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 MkIII’s Word Clock input terminated to function properly.
The internal tone generator can be used to confirm the AD122-96 MkIII 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 MkIII 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 MkIII 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.

Links

(link to manual)