ADC2 a/d converter

Two channel A/D conversion with Line/Mic inputs and AES/EBU/Firewire output – this summarizes the ADC2’s main capabilities, but doesn’t tell much about its stellar sonic quality and its plethora of features.

The ADC2 is the successor of our renowned two channel ADC1-MK2 A/D Converter. It 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. AES/EBU and optional Firewire outputs work at up to 192 kHz/24 Bits.

“The Weiss ADC2 has the ability to capture the highest level of detail while keeping the tonal integrity of any instrument the best that I have heard. The ADC2 is my favorite converter.”

Helik Hadar, Engineer/Mixer of Herbie Hancockʼs Grammy Winning Album: “River: The Joni Letters”

Main Features 

Inputs

The ADC2 sports two separate input sections, one stereo pair for line level signals and one stereo pair for microphone level signals. The microphone input can be high pass filtered to cut off rumble noise. A 48 V phantom power source can be switched to the microphone inputs. After a relay controlled attenuator circuit, which uses 1 dB steps over a range of 42 dB, the signal hits the A/D converters. The analog input stage is kept balanced from the XLR connector to the A/D chips.

 

Converters

Two converter channels are used per audio channel which enhances the conversion quality. The analog to digital conversion process can run at 44.1, 48, 88.2, 96, 176.4 or 192 kHz. The parameters of the two conversion channels can be set independently, except for the sampling frequency and the POW-R dithering algorithm.

 

ADC2 Block Diagram

Synchronization

Synchronization can be from an internal crystal oscillator or external through AES/EBU (XLR) or word-sync (BNC) connectors. The AES/EBU synchronization input can also be used as a digital audio input. This allows to use the ADC2 as a peak limiter and/or POW-R dithering processor for digital audio signals.

 

Peak limiter

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. In addition to the peak limiter with a threshold parameter there is a digital gain control.

Outputs

The output word-length 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. The output formats are AES/EBU in one or two wire technique, S/PDIF in single wire as well as Firewire for a direct connection to computers. The Firewire connection can also be used to feed a signal from the computer to the S/PDIF output of the ADC2.

 

Metering

For metering a large bar graph shows the level to the A/D input, the output level, overload conditions and the gain reduction in the aforementioned peak limiter. The peak hold meter with numeric readout can be used to monitor a transfer and check for overloads which may have occurred. 

Reviews and user feedback 

Professional Mastering Engineers

“The Weiss ADC2 has the ability to capture the highest level of detail while keeping the tonal integrity of any instrument the best that I have heard. The ADC2 is my favorite converter.”

Helik Hadar, Engineer/Mixer of Herbie Hancockʼs Grammy Winning Album: “River: The Joni Letters”

 

“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 is one of the few purchases in my life that I am happier about every year I own it. Just fabulous! The sound!”


Douglas Thompson, Recording Engineer, USA

“I have finally listened to your ADC2 in all sampling rates. I experienced what I expected. This is the best A/D converter that I have ever heard. Not only does it sound analog on 24/176.4, (I cannot hear any difference in A/B comparison from my analog tapes), it also sounds better than anything I know of down to 16/44.1, with the POW-R dither of course. […] Great!”

Mats Hellberg, Hellberg Ljud AB, Sweden

 

“Hello Daniel, my client that purchased the 16 Weiss ADC2 converters has them committed to the new Star Wars film scoring date in the U.K. at the end of January (2005). The score is composed by John Williams and Shawn Murphy is recording it.”


Lincoln Zimmanck, Representative, AID Inc., USA

Technical Data 

Dimensions (cm)

Power

  • Mains voltage: 115 V or 230 V with voltage selector
  • Fuse rating: 630 mA slow blow
  • Power consumption: 60 VA max.

 

Size

  • Depth: 30 cm 
  • Width: 43,3 cm (19")
  • Height: 4,4 cm (1HU)

 

Analogue Line Inputs

  • Two channels on two XLR female connectors, pin 2 hot
  • Symmetrical, not earth free
  • Input impedance > 5 kΩ
  • Analogue Microphone Inputs
  • Two channels on two XLR female connectors, pin 2 hot
  • Symmetrical, not earth free
  • Input impedance > 5 kΩ
  • 48 V phantom power switchable

 

AES/EBU Input

  • Sampling frequencies: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz
  • All sampling frequencies must lie within ±100 ppm of the nominal sampling frequency
  • Maximum input word-length: 24 Bits
  • Channel Status Data: Input accepts professional or consumer format
  • Connector: XLR female, 110 Ω (termination switchable on/off)

 

AES/EBU Output

  • Sampling frequencies: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz
  • Output word-length: 16 Bits, 24 Bits
  • Connector: Two times XLR male, 110 Ω
  • Professional Channel Status Data format
  • Single Wire format for sampling frequencies between 44.1 kHz and 192 kHz
  • Double Wire format for sampling frequencies of 88.2 kHz or higher (switch selectable)

 

S/PDIF Output

  • Sampling frequencies: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz
  • Output word-length: 16 Bits, 24 Bits
  • Connector: One RCA, 75 Ω
  • Professional Channel Status Data format

 

Word-sync I/O

  • Sampling frequencies: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz
  • Connector: BNC, 75 Ω (termination on input switchable on/off)
  • TTL level

Firewire

A Firewire I/O kit is available as an option

 

Measurements

All measurements are taken at the least sensitive setting of the input attenuators, i.e. +26 dBu sensitivity for line and +6 dBu sensitivity for mic inputs. (Equals the sensitivity for a 0 dBFS output level).

 

Low Cut Frequency Response:

1st order high-pass, 3 dB point at 40 Hz

 

Frequency Response:

  • Fs = 44.1 kHz, 20 Hz…20 kHz: ±0.3 dB
  • Fs = 48 kHz, 20 Hz…20 kHz: ±0.3 dB
  • Fs = 88.2 kHz, 20 Hz…30 kHz: ±0.3 dB
  • Fs = 96 kHz, 20 Hz…30 kHz: ±0.3 dB
  • Fs = 176.4 kHz, 20 Hz…40 kHz: ±0.3 dB
  • Fs = 192 kHz, 20 Hz…40 kHz: ±0.3 dB

 

THD+N at 1 kHz:

Less than −103 dBFS at −3 dBFS output level, unweighted

 

SNR at −40 dBFS input:

Higher than 110 dB unweighted

 

Crosstalk:

Less than −120 dB, 0 Hz…20 kHz

 

CMRR:

  • Higher than 90dB at 1 kHz 
  • Higher than 80dB at 20 kHz
  • Higher than 60dB at 20 Hz

 

Interchannel Phase Tracking:

Better than ±0.3°, 20 Hz…20 kHz

 

Latency:

  • Fs = 44.1 kHz: 2.6 ms
  • Fs = 48 kHz: 2.49 ms
  • Fs = 88.2 kHz: 1.8 ms
  • Fs = 96 kHz: 1.75 ms
  • Fs = 176.4 kHz: 1.4 ms
  • Fs = 192 kHz: 1.38 ms

Parameter Tables

Analogue Gain Line Input (dB):

−26.0, −25.0, −24.0, −23.0, etc. in 1dB steps up to +16.0

 

Example: with a gain setting of −26.0, a +26 dBu input signal generates a 0 dBFS output signal.

 

Analogue Gain Mic Input (dB):

−6.0, −5.0, −4.0, etc. in 1 dB steps up to +54.0

 

Example: with a gain setting of −6.0, a +6 dBu input signal generates a 0 dBFS output signal.

 

Digital Output Gain (dB):

−100.0, −92.0, −89.0, −86.0, −83.0, −80.0, −77.0, −74.0, −71.0, −68.0, −65.0, −62.0, −59.0, −56.0, −53.0, −50.0, −48.0, −46.0, −44.0, −42.0, −40.0, −39.0, −38.0, −37.0, −36.0, −35.0, −34.0, −33.0, −32.0, −30.0, −29.5, −29.0, −28.5, −28.0, −27.5, −27.0, −26.5, −26.0, −25.5, −25.0, −24.5, −24.0, −23.5, −23.0, −22.5, −22.0, −21.5, −21.0, −20.5, −20.0, −19.5, − 19.0, −18.5, −18.0, −17.5, −17.0, −16.5, −16.0, −15.5, −15.0, −14.5, −14.0, −13.5, −13.0, −12.5, −12.0, −11.5, −11.0, − 10.5, −10.0, −9.5, −9.0, −8.5, −8.0, −7.5, −7.0, −6.5, −6.0, −5.8, −5.6, −5.4, −5.2, −5.0, −4.8, −4.6, −4.4, −4.2, −4.0, −3.8, −3.6, −3.4, −3.2, −3.0, −2.8, −2.6, −2.4, −2.2, −2.0, −1.8, −1.6, −1.4, −1.2, −1.0, −0.8, −0.6, −0.4, −0.2, 0.0, 0.2, 0.4, 0.6, 0.8, 1.0, 1.2, 1.4, 1.6, 1.8, 2.0, 2.2, 2.4, 2.6, 2.8, 3.0, 3.2, 3.4, 3.6, 3.8, 4.0, 4.2, 4.4, 4.6, 4.8, 5.0, 5.2, 5.4, 5.6, 5.8, 6.0, 6.2, 6.4, 6.6, 6.8, 7.0, 7.2, 7.4, 7.6, 7.8, 8.0, 8.2, 8.4, 8.6, 8.8, 9.0, 9.2, 9.4, 9.6, 9.8, 10.0, 10.2, 10.4, 10.6, 10.8, 11.0, 11.2, 11.4, 11.6, 11.8, 12.0, 12.2, 12.4, 12.6, 12.8, 13.0, 13.2, 13.4, 13.6, 13.8, 14.0, 14.2, 14.4, 14.6, 14.8, 15.0, 15.2, 15.4, 15.6, 15.8, 16.0, 16.2, 16.4, 16.6, 16.8, 17.0, 17.2, 17.4, 17.6, 17.8, 18.0

 

Compressor Threshold (dBFS):

−25.0, −24.8, −24.6, −24.4, −24.2, −24.0, −23.8, −23.6, −23.4, −23.2, −23.0, −22.8, −22.6, −22.4, −22.2, −22.0, −21.8, −21.6, −21.4, −21.2, −21.0, −20.8, −20.6, −20.4, −20.2, −20.0, −19.8, −19.6, −19.4, −19.2, −19.0, −18.8, −18.6, −18.4, −18.2, −18.0, −17.8, −17.6, −17.4, −17.2, −17.0, −16.8, −16.6, −16.4, −16.2, −16.0, −15.8, −15.6, −15.4, −15.2, −15.0, −14.8, −14.6, −14.4, −14.2, −14.0, −13.8, −13.6, −13.4, −13.2, −13.0, −12.8, −12.6, −12.4, −12.2, −12.0, −11.8, −11.6, −11.4, −11.2, −11.0, −10.8, −10.6, −10.4, −10.2, −10.0, −9.8, −9.6, −9.4, −9.2, −9.0, −8.8, −8.6, −8.4, −8.2, −8.0, −7.8, −7.6, −7.4, −7.2, −7.0, −6.8, −6.6, −6.4, −6.2, −6.0, −5.8, −5.6, −5.4, −5.2, −5.0, −4.8, −4.6, −4.4, −4.2, −4.0, −3.8, −3.6, −3.4, −3.2, −3.0, −2.8, −2.6, −2.4, −2.2, −2.0, −1.8, −1.6, −1.4, −1.2, −1.0, −0.8, −0.6, −0.4, −0.2, 0.0

 

Sampling Frequency (kHz):

44.1, 48, 88.2, 96, 176.4, 192

Applications 

The ADC2 can be used for location recording with two microphones and a computer for file capture connected to the ADC2 via Firewire. Another application is the transfer of line level signal to the digital domain, e.g. in mastering studios or mixing studios.

In addition to the A/D Converter tasks the ADC2 is suited for processing digital signals with its digital peak limiter, level control and POW-R dithering. It also works as an output interface from a computer via Firewire to an S/PDIF output.

 

 

FAQ 

For Frequently Asked Questions and discussions about this and other products our new Forum will be available soon.

 

Thank you for your patience.

 

 

 

 

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