Benchmark DAC3 HGC, DAC3 L Instruction Manual

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Benchmark DAC3 HGC and DAC3 L

Instruction Manual

Reference Stereo Preamplifier

PCM and DSD D/A Converter

Asynchronous USB

ESS9028PRO Conversion System

(Version 2.x Firmware)

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Safety Information

Fuses

CAUTION: FOR CONTINUED FIRE

HAZARD PROTECTION ALWAYS REPLACE THE FUSES WITH THE CORRECT SIZE AND TYPE (0.5A 250 V SLO-BLO MM – LITTELFUSE® HXP218.500 OR EQUIVALENT). THE FUSE DRAWER INCLUDES TWO FUSES. ALWAYS REPLACE BOTH FUSES AT THE SAME TIME.

AC Input Voltage Range

NOTE: THE DAC3 IS EQUIPPED WITH A

UNIVERSAL POWER SUPPLY. THERE IS NO VOLTAGE SELECTION SWITCH. AC VOLTAGE RANGE IS 88-264 VAC, 50-60 HZ. THE PRODUCT MAY ALSO BE OPERATED FROM DC POWER OVER A VOLTAGE RANGE OF 125-373 VDC.

Power Cord

CAUTION: ALWAYS USE A GROUNDED

POWER CORD. THE PRODUCT IS EQUIPPED WITH A STANDARD IEC POWER ENTRY MODULE. USE AN IEC POWER CORD THAT IS EQUIPPED WITH THE APPROPRIATE CONNECTOR FOR YOUR LOCATION. CORDS ARE AVAILABLE FROM YOUR DEALER.

5 X 20

Modifications

CAUTION: DO NOT SUBSTITUTE PARTS

OR MAKE ANY MODIFICATIONS WITHOUT THE WRITTEN APPROVAL OF BENCHMARK MEDIA SYSTEMS, INC. MODIFICATION MAY CREAT E S AFE TY HAZARDS AND VO I D THE WARRANTY.

CAUTION: CHANGES OR MODIFICATIONS

NOT EXPRESSLY APPROVED BY BENCHMARK MEDIA SYSTEMS COULD VOID THE USER'S AUTHORITY TO OPERATE THE EQUIPMENT UNDER FCC REGULATIONS.

Repairs

CAUTION: DO NOT SERVICE OR REPAIR

THIS PRODUCT UNLESS PROPERLY QUALIFIED. ONLY A QUALIFIED TECHNICIAN SHOULD PERFORM REPAIRS.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 2

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Contents

Safety Information 2

Fuses 2 AC Input Voltage Range 2 Power Cord 2 Modifications 2 Repairs 2

Features 4 Introduction 5

Applications 5

DAC3 vs. DAC2 5 DAC3 vs. DAC1 5 DAC3 Technologies 5

Front Panel 8 Rear Panel 8 Quick Start Guide 9

Audio Inputs 9 Remote Control 9 Front Panel Controls 10 Front Panel Displays 11 Headphone Jacks 13

Operational Details 14

DIM and MUTE Functions 14 Auto-On Function 14 Bi-directional 12V Trigger 15 HT Mode 17 Preamp COMPATIBILITY Mode 18 USB MODE Sele ction 18 Driving Power Amplifiers 19 HPA2™ Headphone Amplifier 19 Digital Pass-Through 20 Firmware Version Identification 21

Rear Panel 22

Inputs 22 Outputs 25 AC Power-Entry and Fuse Module 26

Internal Settings 27

Jumper-Configured Options 27 Removing Top Cover 27 XLR Output Pads 27 Headphone Switch Configuration 28 Headphone Amplifier Gain 29 Digital PASS-THROUGH Function 30

Benchmark ½-Wide Blank Plate 31

DAC1, DAC2 and DAC3 Family History 32

DAC1 Series 32 DAC2 Series 32 DAC3 Series 33

Benchmark Technologies 34

Hybrid Gain Control™ 34 Native DSD Conversion 34 High Headroom DSP 34 32-bit SABRE-PRO D/A System 36 Diagnostic Displays 36 Bi-Directional 12 Volt Trigger 36 Distributed Power Regulation 36 HPA2™ Headphone Amplifier 36 Differential Amplifiers 37 Jitter-Immune UltraLock3™ 37 Multi-Mode Asynchronous USB Audio 40

USB Driver Installation 42 Performance Graphs 47 Specifications 64

Audio Performance 64 Group Delay (Latency) 65 Digital Audio Inputs 65 Jitter Tolerance 65 Balanced Analog Outputs 66 Unbalanced Analog Outputs 66

HPA2TM Headphone Outputs 66

Unbalanced Analog Inputs 67 Status Display 67 AC Power Requirements 67 Dimensions 67 Weight 67

Regulatory Compliance 68

FCC and RoHS Compliance Statements 68 FCC Notice (U.S. Only) 68 RoHS Compliant Information 68 CE Certificate of Conformity 69

Warranty Inf o rmation 70

Benchmark 1-Year Warranty 70 Benchmark Ext en ded Warranty Opt ions 71 Notes on Warranty Repairs 71

Rack Mounting 31

Benchmark Rack Mount T ray 31

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 3

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Features

 HGC™ (Hybrid Gain Control) – combines motor-driven active analog potentiometers, 32-bit

digital attenuators, and passive analog attenuators, to achieve state-of-the-art performance

 Low-Impedance Passive Output Pads – 0, 10, and 20 dB – optimize output level to power

amplifiers and other downstream devices to maximize system SNR (Page 28

 SABRE PRO - 32-bit PCM D/A conversion system, four 32-bit D/A converters per channel  SABRE PRO – Native DSD D/A conversion system, four 1-bit DSD D/A converters per channel  Benchmark Ultra Lo ck3™ Jitter Attenuation System – eliminates jitter-induced distortion  High Headroom DSP - provides 3.5 dB of analog and digital headroom above 0 dBFS to

completely eliminate th e clipping of intersample peaks

 Multi-Mode Asynchronous USB Audio 2.0 – 24 bit/192 kHz, DSD (DoP 1.1)  Driverless Asynchronous USB Audio 1.1 – 24-bit/96 kHz  Sample Rate Display – displays the measured sample rate, and format (PCM or DSD)  Word Length Display – displays the measured word length  HPA2™ reference-grade "0-Ohm" headphone power amplifier with dual high-current

outputs (DAC3 HGC only)

 HPA2™ gain jumpers for customizing headphone output g ain for headphone sensitivities

(DAC3 HGC only) (Page 28

)

 2 Headphone Output Jacks – one jack automatically mutes the main outputs (DAC3 HGC

only), mute feature can be disabled (Page 28

 2 Coaxial Digital Inputs – 24-bit/192 kHz PCM, DSD (DoP 1.1)  2 Optical Digital Inputs – 24-bit/96 kHz PCM  1 Coaxial Digital Output – digital pass through from USB, Coax, and optical inputs when

function is enabled (Page 30

 2 Stereo Analog Inputs – 2 pairs unbalanced (RCA)  3 Stereo Analog Outputs – 1 pair balanced (XLR), plus 2 pairs unbala nced (RCA)  IR Remote with metal housing provides control of all functions (optional on some models)  HT Bypass – places analog inputs in a unity-gain pass-through mode, sets digital inputs to a

calibrated output level - all inputs can be individually programmed (Page 17

 Polarity Switch – inverts the polarity of selected digital inputs  Mute – accessible from remote or front panel  Dim – Reduces output level by 20 dB, accessible from remote or front panel  Automatic De-Emphasis – automatically responds to consumer pre-emphasis bit (44.1, 48

kHz)

 12V Trigger I/O – bi-directional 12V trigger can act as input, output, or both (Page 15  AUTO-ON Function - can be programmed to turn on when AC is applied (Page 14)  Power Switch – very low standby power , <0.5 W at 120 VAC

)

 High-Efficiency Low-Noise Power Supplies – only 12-15 W, 88-264 VAC, 50-60 Hz  Meets FCC Class B and CE emissions requirements  Tested for immunity to radiated and conducted RF interference

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 4

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Introduction

Applications

The DAC3 is a professional reference-grade audio digital to analog converter with Benchmark's HPA2™ headphone amplifier. The DAC3 supports 24-bit D/A conversion of PCM at sample rates up to 192 kHz. It also supports direct conversion of 1-bit DSD at a

2.8224 MHz sample rate. It is designed to be very transparent and this makes it well-suited for critical monitoring in studio control rooms and mastering rooms.

The DAC3 is also well-suited for high-end hi-fi environments. It includes a generous collection of inputs and outputs and can serve as the central component in any stereo hi-fi system. The DAC3 provides D/A conversion, source selection, volume control, and headphone amplification. A remote control, 12V trigger, and home theater bypass function provide the features needed in a home environm en t .

The DAC3 is designed to directly drive a wide variety of power amplifiers and powered monitors. The balanced outputs include lowimpedance passive pads that can be adjusted to optimize the interface between the DAC3 and the power amplifier. T his optimization can provide substantial improvements in the system-level SNR and THD+N performance.

DAC3 vs. DAC2

DAC3 vs. DAC1

The DAC3 and DAC2 add these features that are not found on the DAC1:

• Asynchronous 192kHz USB Audio 2.0

• 32-bit D/A conversion system

• Word Length Display

• Sample Rate Display

• Polarity Control

• Direct DSD D/A Conversion

• -20 dB DIM

• Bi-Directional 12V Trigger

• Power Switch with Auto-On Function

• Home Theater Bypass

• Digital Pass-Through

• High-Headroom D SP

• Dual-Domain Hybrid Gain Control

• Additional I/O

DAC3 Technologies

4:1 Parallel Conversion Structure

The conversion system in the DAC3 achieves a 6 dB signal to noise improvement through the use of 4:1 summing. The ES9028PRO D/A is an 8-channel 32-bit converter. In the DAC3, four channels are summed in the analog domain to form each of the two output channels.

The DAC3 builds upon Benchmark’s highly successful DAC2 product family. The DAC3 maintains the familiar DAC2 form factor, but adds the higher performance available from the new ES9028PRO D/A converter. The DAC3 offers the following improvements over the DAC2:

• Active 2nd Harmonic Compensation

• Active 3rd Harmonic Compensation

• Lower THD

• Lower passband ripple

• Improved frequ en cy response

• Increased Dynamic Range

• Faster PLL lock times

• Faster switching between inputs

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 5

The 4:1 summing also improves the THD. The non-linearities in individual conversion channels are av era ged across the fou r summed channels and incoherent nonlinearities are attenuated by 6 dB.

Harmonic Compensation

The ES9028PRO has two distortion compensation systems that independently remove most of the 2nd and 3rd harmonic distortion in the D/A converter. Benchmark's ultra-clean analog output stages allow these systems to be fully leveraged in the DAC3.

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High-Headroom Digital and Analog Processing

The DAC3 has generous am ou n ts of analog and digital headroom. The analog clip point is above 29 dBu. The digital clip point is 27.5 dBu. When operating at a typical -20 dB at +4 dBu studio calibration, the DAC3 has 3.5 dB of digital headroom above 0 dBFS. This digital headroom prevents the clipping of intersample ov e rs .

No Clipping of Intersample Overs

The DAC3 is one of very few D/A converters that can accurately reproduce intersample overs without clipping. Intersample peaks can reach +3.01 dBFS and commonly occur many times per second in most 44.1 kHz and 48 kHz recordi n g s. When r ecordings are ripped using lossy compression systems (such as MP3), additional intersample overs are often created. Most converters (including the DAC1) produce bursts of distortion at every occurrence of an intersample over. In contrast, the DAC2 and DAC3 converters cleanly reproduce all intersample overs.

Low-Noise Power Supplies

The DAC3 uses high-efficiency low-noise power supplies. Each critical subsystem also has at least one dedicated low-noise regulator. Th e high-efficiency supplies deliver the substantial power required by the lowimpedance circuits, the headphone amplifier, and the output line drivers. A power switch is included. The standby power consumption is less than 0.5 W when the unit is off.

Low Magnetic Emissions

UltraLock3™ Clock System

UltraLock3™ provides the outstanding jitter

attenuation of Be nchmark's UltraLock2™ system while providing virtually instantaneous (6 ms) lock times.

Dual-Mode USB Input

The DAC3 has a USB input that can be operated in two modes; driverless USB

Audio 1.1, and a high sample rate USB Audio 2.0. Both use asyn chronous clocking

to eliminate the USB interface as a source of clock jitter.

Note: To provide full backward and forward

compatibility, the DAC3 uses the DAC2 USB drivers. This prevents the need to install two different sets of drivers. Please note that the DAC3 USB input will be identified as "Benchmark DAC2" in your computer control panels. This is inte ntional.

Asynchronous USB Audio 2.0

The USB Audio 2.0 interface supports DSD and 192 kHz, 24-bit PCM. No drivers are required for Apple operating systems. Drivers are provided for Windows operating systems at: BenchmarkMedia.com/drivers

Native Asynchronous USB 1.1

The DAC3 has a driverless USB Audio 1.1 mode that supports 96 kHz, 24-bit PCM with all operating systems. This mode provides a quick and easy connection to a wide variety of computers and tablets without installing a driver.

The magnetic components in the DAC3 power supplies operate at over 800 kHz. This allows the use of very small magnetic components that emit correspondingly small magnetic fields . This virtually eliminates all traces of line-frequency components in the output spectrum of the DAC3. This also means that the DAC3 can be placed in close proximity to any audio component without causing interference with the other component.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 6

HGC™ Hybrid Gain Control

HGC™ is Benchmark’s unique hybrid gain

control that combines analog and digital gain control into a single volume control knob.

The HGC™ system uses an active analog gain control for analog inputs and a 32-bit dithered volume control for digital inputs. Both types of inputs leverage the low-impedance passive

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analog attenuation system at the XLR outputs.

The dual-domain HGC™ system combines the high dynamic range of Be nchmark’s HDR™ analog control (used in the DAC1 HDR) with the low distortion and accuracy of a digital control. HGC™ outperforms traditional analog or digital vo lume controls, including the twostage DAC1 HDR™ system. Musical details are preserved over a very wide range of output levels. Analog inputs are controlled in the analog domain. Digital in puts ar e controlled in both domains.

The volume control is a servo-driven analog potentiometer. This control rotates in response to commands from the remote control while providing the convenience of manual adjustments with a physical knob.

Low-Impedance Passive Attenuators

Like the DAC1 and DAC2, the DAC3 includes low-impedance passive attenuators on the XLR outputs. These attenuators can be adjusted to optimize the interface with the power amplifier or powered monitors. This optimization places the volume contro l in its best operating range. This exclusive Benchmark feature can provide substantial improvements in the performance of the playback signal chain.

Native DSD Conversion

The DAC3 supports native DSD conversion. This feature was not available on the DAC1. DSD signals can be delivered to the USB or Coaxial inputs in DoP 1.1 fo rmat. The DSD signal is then routed directly to a bank of 1bit DSD D/A converters. Four balanced 1-bit converters are summed together for each balanced output.

can be passed through to the D4 connector. This even includes special signals such as DoP, DTS, Dolby Digital, even when these signals cannot be decoded by the DAC3.

Polarity Control

Each digital input can be inverted, to correct polarity problems. Some listeners report that polarity is incorrect on some recordings, and that they enjoy an improved listening experience when this is corrected. To toggle, use the POLARITY button on the front panel or press and hold the ON button on the remote.

HT Mode

The HT mode sets the volume control to a calibrated level that is near its maximum setting. In HT mode the analog gain is set to 0 dB (unity gain). Likewise the digital attenuation is set to 0 dB (maximum output). The HT light is illuminated when the HT mode is active.

The HT mode is similar to the CALIBRATED switch setting on the DAC1 except that it is programmable per input. This flexibility allows seamless integration into home theater systems where the DAC3 handles the main left and right channe ls.

Bi-directional 12V Trigger

The 12 Volt trigger can be connected to other audio components so that an entire audio system can turn on and off in a sequenced fashion. The DAC3 trigger I/O can be connected to a preamplifier, power amplifier, or both. The DAC3 will pull the trigger I/O to 12 volts DC while the DAC3 is on. If the DAC3 is off and an external device pulls the trigger I/O to 12 volts, the DAC3 will turn on.

Digital Pass-Through

The second coa xial inpu t (D4) can be reconfigured as a digital output. When operating as an output, any selected digital input is passed through to D4 without any processing. Optical, coaxial, and USB inputs

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 7

Auto-On Function

The DAC3 can be programmed to automatically turn on when AC power is applied. (Page 14

)

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Front Panel

DAC3 HGC

DAC3 L

Rear Panel

DAC3 HGC and DAC3 L

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 8

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Quick Start Guide

OFF

Turns the unit off. Any devices

Turns the unit on. Any devices

POLARITY function.

VOLUME

Turns the volume up or down.

DIM

Toggles the -20 dB DIM function.

MUTE

Toggles the MUTE function.

mode on the selected input.

INPUT

Selects the inputs.

Selects optical digital input D1.

Selects optical digital in p ut D2.

Selects coaxial digital input D3.

Selects coaxial digital input D4.

USB

Selects USB input.

USB 1.1 and USB 2.0 modes.

Analog

Selects analog input A1 and then toggles between A1 and A2.

Audio Inputs

The DAC3 features two stereo RCA analog inputs and five stereo digital inputs (2 coaxial, 2 optical, and 1 USB). The coaxial and optical inputs accept professional (AES) and consumer (S/PDIF) data formats at word lengths up to 24-bits.

Tip: We recommend using the coaxial or USB

inputs for sample rates above 96 kHz. Optical interfaces are not always reliable at sample rates above 96 kHz.

Remote Control

slaved to the 12V TRIGGER will also turn off in a controlled sequence.

Press and hold the OFF button for 3 seconds to force the 12V TRIGGER off (only necessary when another device is ac t ing as a TRIGGER BUS MASTER).

slaved to the 12V TRIGGER will also turn on in a controlled sequence.

Press and hold the ON button for 3 seconds to toggle the

The remote control is designed to have a long operating range. In most applications it is not necessary to point the remote directly at the DAC3.

The chart at the right summarizes the functions of the IR remote control.

Press and hold the MUTE button for 3 seconds to toggle the HT

Press and hold the USB button for 3 seconds to toggle between the

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 9

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Front Panel Controls

POWER

Turns the unit on or off. Any

remain on).

DIM/MUTE

Press once to toggle the -20 dB

function.

INPUT

Selects the inputs.

2.0 modes.

VOLUME

This motor-driven knob can be

setting.

devices slaved to the 12V TRIGGER will also turn on or off in a controlled sequence.

Press and hold the POWER button for 3 seconds to force the 12V TRIGGER off (only necessary when another device is acting as a TRIGGER BUS MASTER).

Starting with the unit off, press and hold the POWER button for 3 seconds to set the AUTO- ON function.

Starting with the unit on, press and hold the POWER button for 3 seconds to clear the AUTO-ON function.

If AUTO-ON is set, the

POWER button will toggle MUTE on and off (the unit will

The front panel controls duplicate all of the functions that are available from the remote control.

One additional funct ion, AUTO-ON, is only controllable from the front panel. The AUTO- ON function keeps the DAC3 on whenever AC line voltage is supplied.

Tip: When AUTO-ON is enabled, a switched

AC outlet can be used to turn your system on and off. The 12V TRIGGER I/O can be used as a trigger output to control the power state of additional components.

The chart at the right summarizes the functions of the front-panel controls.

(knob)

DIM function.

Double tap to set the MUTE

Press and hold both input buttons for 3 seconds to toggle between the USB 1.1 and USB

turned by hand at any time (even when being driven by the motor).

If HT mode is off, the motor drive will release when the knob is held or turned by hand. If HT mode is on, the motor drive will attempt to return the volume control to the HT

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Front Panel Displays

A solid blue light indicates that analog input A1 is selected.

A solid blue light indicates that analog input A2 is selected.

A solid blue light indicates that the USB

computer has not been established.

A solid blue light indicates that optical

is not being received.

A solid blue light indicates that optical

is not being received.

A solid blue light indicates that coaxial

is not being received.

A solid blue light indicates that coaxial

is not being received.

Slow Flash

(2Hz)

No digital signal (output muted)

Med. Flash

(7Hz)

Data transmission errors or Non-PCM (output muted)

Rapid flashes

(14Hz)

Non-audio data is being received (output muted)

Intermittent

Some data corruption is

cable.

A solid light indicates that the HT mode

muted while HT mode is active.

There are sixteen status indicator lights on the front panel. At least one light will be illuminated whenever power is on.

Input Indicators

The input indicators show which input is selected.

A flashing light indicates an error on a digita l in p u t .

The HT light shows that HT mode is active.

input is selected and operating normally. A blinking blue light indicates that the input is selected but a connection to a

Note: D4 cannot be selected if the Digital

Pass Through function is enabled.

Instructions for configuring this jumperselected function c an be found in the

Internal Settings

(Page 30).

Input Error Codes

The input indicators flash when errors are present on the selected digital input. There are no error indications for analog inputs. Use the following table to diagnose the problem:

flashes

Tip: Common causes of input errors:

section of this manual

occurring, converter may be interpolating to replace invalid samples, check the

input D1 is selected and operating normally. A blinking blue light indicates that the input is selected but audio data

input D2 is selected and operating normally. A blinking blue light indicates that the input is selected but audio data

input D3 is selected and operating normally. A blinking blue light indicates that the input is selected but audio data

input D4 is selected and operating normally. A blinking blue light indicates that the input is selected but audio data

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 11

• Disconnected or fa u lty cable

• Use of excessively long digital cables

• Use of analog cables for digital signals

• Use of optical cables for sample rates

exceeding 96 kHz

• Incompatible data type (AC3, ADAT, etc.)

• Non-audio data is being received

HT Indicator

is active on the selected input and the volume control is in the factory calibrated position (near full clockwise). A blinking light indicates that the HT mode is active but the volume control has not yet reached its calibrated position. The HT light and DIM/MUTE light will blink together if the unit is

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DIM, MUTE, and POLARITY Indicators

DIM/MUTE

A solid red light indicates that

control is sending commands.

POLARITY

Yellow light indicates that the is active.

16 Only

Measured input word length is 16 bits.

16 and 24

Measured input word length is 17 to 23 bits.

24 Only

Measured input word length is 24 bits.

Both Off

Measured input word length is less than 16 bits.

44 Only

The input format is PCM at a sample rate).

48 Only

The input format is PCM at a used with video).

44 and 2X

The input format is PCM at a

format).

48 and 2X

The input format is PCM at a resolution audio format).

44 and 4X

The input format is PCM at a

format).

48 and 4X

The input format is PCM at a resolution audio format).

DSD

The input format is 1-bit DSD

streamed in DoP format.

All Off

Digital signal is not present or is not in a supported format.

Word Length Indicators

The 16 and 24 lights indicate the measured word length of the selected digital input. The DAC3 detects active data bits and displays the results as follows:

the unit is in DIM mode. A slow flashing red light indicates that the unit is in MUTE mode. A rapidly flashing red lig ht indicates that the remote

POLARITY inversion function

Digital Format Indicators

Two lights indicate the measured word length of the selected digital input.

Four lights indicate the sample rate and format of the selected digital input.

Format indicators

The 44, 48, 2X, 4X, and DSD lights in d icate the sample rate and format of the selected digital input as follows:

sample rate of 44.1 kHz (CD

sample rate of 48 kHz (often

sample rate of 88.2 kHz (high-resolution audio

sample rate of 96 kHz (high-

sample rate of 176.4 kHz (high-resolution audio

Tip: Computers, disk players, and streaming

devices often subject the digital signal to sample rate conver sion, changes in word length, PCM to DSD conversions, and other forms of digital processing that may degrade the quality of the audio. This display makes it easy to detect these processes.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 12

(4x and 2X)

sample rate of 192 kHz (high-

at a sample rate of 2.8224 MHz (high-resolution audio format). Note: DSD must be

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Headphone Jacks

The left-hand jack RCA outputs.

The right-hand jack active.

(DAC3 HGC only)

Tip: The Volume Control simultaneously

adjusts the level for both jacks. If two listeners will be simultaneously using the headphone outputs, we recommend using headphones with identical or s imilar vo ltage sensitivities.

HPA2

Headphone Power Amplifier

The headphone jacks are driven by Benchmark's HPA2™ headphone power amplifier. This small and very clean power amplifier can deliver the current and voltage required by some of the most demanding headphones. The output impedance of the HPA2™ is very close to 0 Ohms. This low output impedance delivers a high damping factor so that the amplifier can maintain precise control over the headphone transducers.

mutes the XLR and

keeps all outputs

Headphone Mute Switch

The left-hand headphone jack includes a switch that mutes the main analog outputs (XLR and RCA) when a headphone plug is inserted. This feature allows the listener to switch from loudspeaker to headphone playback seamlessly. This Auto-Mute feature can be disabled with internal jumpers.

Note: Instructions for setting the Auto-Mute

jumpers can be found in the

Internal

Settings section of this manual (Page 28).

Tip: Use the left-hand jack to mute your

loudspeaker system. Use the right-hand jack to keep all outputs active.

Headphone voltage sensitivities vary substantially, so we have equipped the HPA2™ with Gain-Range jumpers that can be used to customize the headphone amplifier to your favorite headphones. If you find that you have too much output (volume control set below 11 o'clock), there are internal jumpers that can be adjusted to decrease the output level by 10 dB or 20 dB relative to the factory default setting.

Note: Instructions for setting the headphone

Gain-Range jumpers can be found in the Internal Settings section of this manual.

Tip: For optimal performance, the headphone

Gain-Range jumpers should be set so that

comfortable listening levels occur when the volume control is set above the 11 o'clock position.

Driving Two Sets of Headphones

The HPA2™ is specif ically designed with enough power to drive two sets of headphones.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 13

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Operational Details

DIM and MUTE Functions

activated, the DIM mode will automatically deactivate, the DIM light will turn off , and the saved NORMAL setting will be replaced by the current volume setting.

Definition: If the DIM, MUTE, HT and

COMPATIBILITY modes are all off, the DAC3 is in NORMAL mode.

Definition: The NORMAL volume setting is

the last volume setting that was in use before the DIM, MUTE, HT or COMPATIBILITY modes were activated.

DIM Function

The DIM function reduces the output level by 20 dB. To toggle between NORMAL and DIM volume, press the DIM button on the remote or the DIM/MUTE button on the front panel.

The red DIM/MUTE light will turn on whenever DIM is active.

When DIM is activated, the NORMAL volume setting is stored in memory while the volume control ramps down by 20 dB. When DIM is deactivated, the volume control ramps back to the NORMAL volume setting that was stored in memory.

The DIM function makes it convenient to fade back and forth between normal and background playback volume levels.

DIM cannot be activated when HT mode is enabled.

With digital inputs, DIM will reduce the output level by exactly 20 dB. With analog inputs, DIM will reduce the output level 20 dB +/- 0.5 dB.

MUTE Function

The MUTE function immediately mutes all outputs. To toggle this function, press the MUTE button on the remote or double-tap the DIM/MUTE button on the front panel.

The red DIM/MUTE light will flash at a 1 Hz rate whenever MUTE is active.

When MUTE is activated from a NORMAL listening mode, th e audio will immediately mute while the motor-driven volume control ramps down to the -20 dB DIM position. When MUTE is released, the output will unmute at the DIM volume p osition and then ramp back up to the previous setting. This movement of the motor-driven volume control provides a soft unmute when MUTE is released. It also allows immediate transitions between MUTE and DIM.

TIP: In the studio, the DIM function allows a

temporary reduction in level without losing the volume setting that was being used for monitoring.

Tip: In home applications the DIM function

allows temporary reductions in volume during TV commercial breaks, phone calls, or other interruptions, without losing the volume setting that was being used for normal listening.

If the volume is adjusted while DIM is active, it will not change the NORMAL setting unless the DIM volume is turned up above the last NORMAL setting. If the volume control is turned up by more than 20 dB after DIM is

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 14

Tip: If the unit is in MUTE, press the DIM

key to immediately enter the DIM mode.

Tip: If the unit is in MUTE, press the ON key

to enter the NORMAL mode.

Tip: if the unit is in DIM, press the MUTE

key to toggle between DIM and MUTE.

Auto-On Function

The DAC3 can be programmed to automatically turn on whenever AC power is applied. This function allows automation using switched AC outlets. When AUTO-ON is

Page 15

enabled, the DAC3 cannot be turned off without removing AC power.

The AUTO-ON function is programmed by pressing and holding the POWER button on the front panel for three seconds. This function cannot be programmed from the remote control. This limitation prevents accidental access to this special feature.

Enabling AUT O -ON

Starting with the DAC3 off, press and hold the POWER button for 3 seconds.

If AUTO-ON has been successfully enabled, the unit cannot be turned off using the POWER button or the OFF button on the remote. These buttons will place the unit in MUTE unless the COMPATIBILITY MODE is also enabled. These b ut t ons will have no function when the COMPATIB ILITY MODE is also enabled.

Disabling AUT O -ON

The DAC3 can send a 12 Volt DC trigger signal to start other components in the system, or it can wake up in response to an externally generated trigger signal. The DAC3 automatically configures its trigger I/O port as an input (slave) or output (master).

Trigger Output (DAC3 is Master)

When the DAC3 is turned on using the

POWER button (on the front panel), or the ON button (on the remote), the DAC3

configures itself as a trigger master and will drive the 12V TRIGGER I/O to 12 volts DC and hold it there while the DAC3 is on. The trigger output signal generated by the DAC3 is delayed so that the DAC3 can stabilize before downstream devices (such as power amplifiers) turn on. When powering down, the DAC3 will mute before allowing the trigger line to drop low. The DAC3 keeps the internal power supplies running for 10 seconds after dropping the trigger. This delay gives other triggered components ample time to mute and shut down.

Starting with the DAC3 on, press and hold the POWER button for 3 seconds. At the end of 3 seconds the DAC3 will power down if the AUTO-ON mode has been successfully disabled.

Bi-directional 12V Trigger

Benchmark has reinvented the 12 volt trigger by adding bi-directional signaling. The trigger connection on the DAC3 can be used as an input, an output, or both. It is compatible with any common 12 volt trigger input or output. The 12V TRIGGER I/O can be used to turn other audio components on when the DAC3 turns on. The DAC3 can also turn on and off in response to other connected components. The Benchmark bi-directional 12V Trigger is compatible with virtually all trigger systems.

The 12V TRIGGER I/O can be connected to the trigger input or output ports on a preamplifier, power amplifier, or both.

If the AUTO-ON function is enabled, the DAC3 will auto matically turn on when AC power is applied, configure itself as a trigger master, and ignore any external signaling on the 12V TRIGGER I/O line. In AUTO-ON mode, the DAC3 will always drive the 12V TRIGGER I/O line to 12 V (after a short start-up delay).

Trigger Input - (DAC3 is Slave)

If the DAC3 is off and an external device pulls the trigger I/O to 12 volts, the DAC3 will configure itself as a trigger slave and will follow the actions of the trigger input. The DAC3 will then turn off when the external device stops sending the 12 V trigger.

Typical Trigger Applications

In most systems, the 12V TRIGGER will be used to connect the DAC3 to one other device. The DAC3 can be connected to the first trigger input at the beginning of a trigger chain, or it can be connected to the last

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trigger output at the end of the chain (less common).

a Benchmark DAC3 or AHB2 can be used to start or stop the system.

Typical trigger applications:

• DAC3 → Amplifier

• DAC3 → Amplifier → Amplifier

• DAC3 → Preamplifier → Amplifier

• AVR → DAC3, and AVR → Amplifier

(AVR with 2 trigger outputs controls DAC3 and power amplifier)

Trigger Bus Applications

The Benchmark bi-directional trigger system also supports multiple trigger ports wired together on a bus.

A group of Benchmark trigger ports can be connected to a group of non-Benchmark trigger input ports to form a single trigger bus. A bus should never be connected to more than one non-Benchmark trigger output port. If an output port is connected to the bus, this device should be used to start the audio system.

The Benchmark device that starts the system will become the trigger master. If the trigger master is turned off, all slave devices will follow. If a slave device is turned off, all other devices will stay on.

If the DAC3 is used to turn the system on, any connected AHB2 amplifiers will become slave devices and they can be turned off without shutting down the DAC3. This feature makes it easy to turn the AHB2 amplifier(s) off when listening to headphones.

Slave devices can force the entire trigger bus to shut down if the POWER button or OFF button is pressed and held for 3 seconds.

Tip: Press and hold the POWER button on

any Benchmark device for 3 seconds to force a shutdown of the entire trigger-connected system.

Trigger Specifications

A 3.5 mm (1/8") TRS "Y" cable can be used to split the trigger output of the DAC3 to feed more than one trigger input.

Benchmark AHB2 power amplifiers have two trigger I/O ports that are wired in parallel. This makes it easy to connect more than one power amplifier to a trigger bus (without the use of a "Y" cord). Connect a trigger cable between the DAC3 and the first amplifier. Use another trigger cable to connect this amplifier to the next amplifier. Any number of Benchmark amplifiers can be added to the trigger bus. The DAC3 will turn on first, and after a delay, all of the amplifiers will turn on together.

Bi-Directional Trigger Applications

Benchmark products support bi-directional communications over a trigger bus. Any Benchmark product connected to the bus can turn the entire system on or off. B e ca u s e of the bi-directional design, any power butto n on

The Benchmark 12V TRIGGER I/O has a wide operating range to allow interfacing with most other DC trigger systems. It should only be used with trigger inputs that are designed to tolerate 12 VDC.

• 12 VDC 200 mA current-limited output

• Input responds to 3.3 V logic and

higher

• Maximum input voltage = 30 VDC

• Maximum reverse input voltage = -0.3

VDC

• Input Impedance = 20 k Ohms

• 1/8" (3.5 mm) TRS jack

• Tip = 12 Volt Trigger I/O

• Ring = no connection

• Sleeve = chassis ground

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HT Mode

The HT mode sets the volume control to a calibrated level that is near its maximum setting.

The HT mode has three distinct applications:

Tip: If the DAC3 feeds a preamplifier, the HT

mode would need to be turned on individually for each input. Conside r using the

COMPATIBILITY mode instead. The COMPATIBILITY mode places all inputs into

the HT mode while also disabling the MUTE and DIM controls.

• Volume Control Bypass - useful when the system has an upstream digital volume control or a downstream analog volume control

• Home Theater Bypass - allows highquality stereo playback on a system that is also used for surround applications

• Calibrated Output - useful in studio applications where calibrated levels are needed

In HT mode the analog gain is set to 0 dB (unity gain, RCA to RCA). Digit a l inp u t s ar e calibrated to +24 dBu at 0 dBFS (+4 dBu at

-20 dBFS) measured at the XLR outputs, and 2 Vrms measured at the RCA outputs. The HT light is illuminated when the HT mode is active.

Enabling the HT mode:

Each input channel can be programmed individually by pressing and holding the MUTE button for three seconds. The HT mode is similar to the CALIBRATED switch setting on the DAC1 except that the HT mode can be programmable separately for each input. This flexibility allows seamless integration into home theater systems where the DAC3 handles the main left and right channels.

HT Mode - Volume Control Bypass

The HT mode is useful whenever the system volume will be controlled before or after the DAC3. It is usually best to avoid having two cascaded volume controls in a playback system. Dual controls will usually degrade the noise performance of the system and they can lead to confusion.

If the DAC3 is directly feeding an amplifier, but one or more sources have volume controls, the sources with volume controls can be set to HT mode.

Example 1: The USB input is fed from a computer that has an interna l digi t al volume control. If you wish to use the volume control in the computer exclusively, you will want to program the USB input with the HT mode on. All other inputs will have the HT mode turned off. If you do not wish to use the computer volume control, leave the HT mode off and disable the computer volume control (or set it to maximum).

Example 2: One of the analog inputs on the DAC3 is fed from a preamplifier and the preamplifier is being used to control the system playback. Set this analog input to HT mode on.

HT Mode - Home Theater Bypass

The home theater byp as s is useful when you have a home theater system that will also be used for playing stereo recordings. The DAC3 will directly drive the left and right power amplifiers while the AVR drives all other speakers. The analog left and right line-level outputs of the AVR will be connected to one set of analog inputs on the DAC3 (usually A1). Stereo sources will be connected directly to the digital inputs on the DAC3. Surround sources will be connected directly to the inputs on the AVR.

When playing stereo recordings, digital feeds are sent directly to the DAC3 and the volume control on the DAC3 is used to control the playback level (HT mode must be off on all digital inputs). This configuration gives t he best-possi ble performance for stereo applications because it eliminates the AVR

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from the stereo playback chain. If the stereo system includes a turntable and an outboard phono preamplifier, the outputs of the pho no preamplifier can be connected directly to the second set of analog inputs on the DAC3 (HT mode off, analog input A2).

When playing movies and other surround sources, analog signals from the AVR would pass through the DAC3 at unity gain (HT mode on, analog input A1).

For stereo applications, digital sources would feed the DAC3 and the volume control on the DAC3 would control the playback level (HT mode off, digital inputs).

HT Mode – Calibrated Output

Any digital input can be set to the factorycalibrated fixed-gain by turning the HT mode on. In HT mode, the analog audio outputs are set to factory calibrated levels. This mode is useful in studio applications where calibrated interface levels are used between various pieces of equipment. (Note: This function is similar to the calibrated mode on the DAC1.)

• As a safety feature, manual rotation of the VOLUME knob will provide a momentary ov er ride of the HT volume setting. The knob will be driven to the unity-gain HT position when released.

Enabling the COMPATIBILITY mode:

• Simultaneously hold the DIM/MUTE and INPUT-UP keys for 3 seconds to activate or deactivate this feature.

• The HT light will be illuminated on all inputs when COMPATIBILITY mode is enabled.

• The DIM/MUTE key will be disabled when COMPATIBILITY mode is enabled.

• The DAC3 will not respond to the

DIM, MUTE, VOLUME-UP and VOLUME-DOWN keys on the IR

remote when COMPATIBILITY mode is enabled.

USB MODE Selection

The DAC3 supports two USB MODES:

Preamp COMPATIBILITY Mode

This feature was added in Version 2.0. If you have an older version, an update is available.

The COMPATIBILITY mode disables the volume control when the DAC3 feeds a preamplifier that will be used to control the system playback volume. When this mode is used with a Benchmark preamplifier or line amplifier, such as the HPA4, a single Benchmark IR remote can be used to control both devices.

In COMPATIBILITY mode:

• HT mode is on for all inputs

• MUTE is disabled

• DIM is disabled

• Remote INPUT select arrows are

disabled

• The VOLUME knob will be driven to the unity-gain HT position.

• USB Audio 1.1 mode - up to 24 bits at 96 kHz

• USB Audio 2.0 mode - up to 24 bits at 192 kHz plus DSD in DoP 1.1 format

Caution: Close all USB audio playback

applications before changing the USB MODE. If an audio application is playing while the USB MODE is changed, the audio application may freeze.

Note: The computer and DAC3 must be

connected and both must be on before the USB MODE can be changed.

To change the USB MODE, select the USB (U) input on DAC3 and then press and hold the USB button on the remote control for 3 seconds. If a remote contr ol is not available, simultaneously press and hold both INPUT buttons on the front panel for 3 seconds.

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After holding the button(s) for 3 seconds, either the 4X lamp or the 2X lamp will flash once indicating the new USB MODE. A flash of the 4X lamp indicates that the unit is now in USB Audio 2.0 mode. A flash of the 2X lamp indicates that the unit is now in USB

Audio 1.1 mode.

Tip: The 4X or 2X lamp will flash once every

time the USB input is selected. This flash provides a convenient indication of the current USB MODE.

Tip: Avoid any unnecessary switching

between USB MODES. Rapid switching between mode s can confuse some op erat ing systems.

Driving Power Amplifiers

power amplifiers and powered monitors will require the use of the 10 dB or 20 dB pads. Use the 0 dB setting when driving a Benchmark AHB2 power amplifier.

Tip: The Benchm ark AHB2 power amplifier

has a unique low-gain topology tha t a llows it to accept full studio-level input sig nals. This high-level interconnection provides a very low-noise connection between the DAC3 and the AHB2. Set the input SENSITIVITY switch on the AHB2 to 22 dBu (all the way down). This places the AHB2 full-power output point at an input level of 22 dBu. This level is exactly 2 dB lower than the calibrated HT output level of the DAC3 (when the pads are set to 0 dB). This configuration optimizes the gain-staging between the DAC3 and the AHB2 while placing the DAC3 volume control in the proper range.

The DAC3 is designed to directly drive virtually any audio power amplifier or powered monitor. This direct connection provides the cleanest and shortest path from the digital source to the monitor output.

Tip: In most cases, Benchmark does not

recommend placing an audio device between the DAC3 and the power amplifier. One notable exception is the HPA4 line am plifier. The HPA4 provides stepped relay gain control with exceedingly low THD and noise. The HPA4 provides the ultimate analog volume control and it can operate transparently between the DAC3 and a power amplifier.

The RCA and XLR outputs on the DAC3 are equipped with low-impedance high-current drivers. Thes e rob u st o u t p u t s are well equipped to drive a wide variety of input impedances. Th e DAC3 outputs remain clean when driving amplifiers that present difficult loads (high input capacitance and/or low input impedance).

The XLR outputs on the DAC3 are equipped with jumper-configured passive lowimpedance output pads. These pads can be set to an attenuation of 0 dB (pad off), 10 dB, or 20 dB. The pads should be used to match the output level of the DAC3 to the input sensitivity of the power amplifier. Most

Tip: If you are using a DAC3 with non-

Benchmark power amplifiers, the XLR pads should be set so that comfortable listening levels occur when the VOLUME control is set above 11 o’clock. This will optim ize the gainstaging between the DAC3 and your power amplifier.

Tip: Increase the pad setting if a comfortable

listening level is reached at a VOLUME control setting below the 11 o'clock position.

Tip: Decrease the pad setting if a comfortable

listening level cannot be reached when the VOLUME control is fully clockwise.

Instructions for setting the XLR pad jumpers are detailed in the Inte rna l Sett i ngs section of this manual. The DAC3 is shipped with the XLR pads disabled (set to 0 dB). No adjustments will be necessary if you will be using a Benchmark AHB2 power amplifier.

HPA2™ Headphone Amplifier

(DAC3 HGC model only)

The left headphone jack has a mute switch that mutes all of the analog outputs on the back of the DAC3. The right headphone jack

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does not have a mute switch. The audio output on both ja c ks is w ir e d in pa r a llel and is d riven by Benchmark's HPA2™ headphone power amplifier.

The HPA2™ is one of the most transparent headphone amplifiers available. It also is ab le to deliver high current and/or high signal levels making it well suited for a wide variety of headphones. The near 0-Ohm output impedance provides outstanding damping of headphone drivers. This damping reduces distortion while maintaining precise control of the frequency response at the output of the amplifier.

The HPA2™ has a set of 3-po s it io n g a in- range jumpers that can be used to increase or decrease the gain by 10 dB relative to the factory calibrated setting.

The jumpers change the g ain of the HPA2™ headphone amplifier without changing the output impedance. This keeps the output impedance of the HPA2™ constant and very near 0 Ohms. External attenuator s should never be inserted after a headphone amplifier as this would change the output impedance and alter the frequency response of the headphones.

Proper gain settings are important for maximizing the SNR of the headphone monitoring system. With proper settings, the full performance of the DAC3 can be delivered to the headphones for critical monitoring tasks and for maximum musical enjoyment.

Digital Pass-Through

The second coaxial input (D4) can be reconfigured as a digital output. When operating as an output, any selected digital input is passed through to D4 without any processing.

Optical, coaxial, and USB inputs (U, D1, D2 and D3) can be passed through to the D4 connector. The signals are buffered but are not processed in any way. For this reason, any data format can be passed through to the D4 connector, even when these formats cannot be decoded by the DAC3. Surround formats, such as DTS, Dolby Digital, cannot be decoded by the DAC3, but they can be passed to a surround system using the digital pass-through function.

The digital pass-through can also be used to provide the following digital signal conversions:

• Optical to Coaxial

• USB to Coaxial

• Coaxial to Coaxial (buffering)

DoP encapsulated DSD can also be passed through D4. DSD files on a computer can be sent in DoP to the USB input on the DAC3. The USB input can be routed to coaxial output D4. This output can be recorded by any 24-bit, 176.4 kHz digital recorder with a coaxial input. The PCM digital recorder can then be used to play the DSD recordings.

Tip: When the headphone gain jumpers are

set properly, a normal listening level will be achieved at a VOLUME control setting above the 11 o'clock position.

Tip: If a normal listening level is achiev ed

below an 11 o’clock VOLUME setting, the headphone gain is too high, and the gain should be decreased.

Tip: If the level is too low at the maximum

VOLUME setting, the headphone gain is too

low, and the gain should be increased.

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Firmware Version Identification

Digit 1

Digit 2

D1 D2

4 U

A2 D4

A1 HT

The firmware version is displayed during the lamp test while the DAC3 is turning on. At least one lamp in the INPUT INDICATOR will f lash rapidly while the remaining lamps will be on. The flashing lamps identify the firmware version. The values of each lamp are shown in this chart. Add the values of all flashing lamps to determine the version number. If no lamp flashes in the second column, the second digit is a 0.

Example 1: The A1 lamp is the only lamp

that flashes. The firmware version is 1.0.

Example 2: The A1 and HT lamps flash. The

firmware version is 1.1.

Example 3: The A2 lamp is the only lamp

that flashes. The firmware version is

2.0.

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Rear Panel

DAC3 HGC and DAC3 L

Inputs

There are seven stereo inputs on the DAC3:

• A1 - RCA L & R Analog Inputs

• A2 - RCA L & R Analog Inputs

• USB - USB Audio 1.1 or 2.0 Input

• D1 - Optical Digital Input

• D2 - Optical Digital Input

• D3 - Coaxia l Digital Input

• D4 - Coaxial Digital Input or Output*

These inputs are selected using the INPUT buttons on the front-panel or on the remotecontrol.

* D4 can be jumper-configured as a digital PASS-THROUGH output. When enabled, the

selected digital input will be routed to the internal D/A converter and to output D4. The selected input will be buffered and sent to output D4 even if the format cannot be decoded by the DAC3.

The digital inputs support PCM stereo AES/EBU and SPDIF digital formats. Maximum

word length is 24-bits. Maximum sample rate is 192kHz.

The digital inputs also support DSD stereo at a sample rate of 2.8224 MHz using DoP 1.1 encapsulation.

The USB input has two operating modes:

• USB Audio 1.1 - PCM up to 24-bits at 96 kHz

• USB Audio 2.0 - PCM up to 24-bits at 192 kHz and DSD (DoP 1.1 format)

Caution: The optical inputs (D1 and D2) are

not recommended for DSD or for sample rates above 96 kHz. Optical connections may be unreliable at sample rates above 96 kHz.

Tip: The DAC3 will not decode multichannel

digital formats such as AC3, and Dolby Digital. The audio will mute and the INPUT INDICATORS will flash whenever an incompatible format is connected to the selected digital input. If the PASS-THROUGH mode is enabled, these multichannel formats can be sent to a surround processor using connector D4 as a digital output.

Caution: The 12V TRIGGER I/O is not an

audio connection! This is a 12V DC connection for synchronizing the on and off sequencing of an entire audio system.

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Analog Input s – RCA Unbalan c ed

The DAC3 has two sets of unbalanced stereo analog inputs with female RCA connectors.

streaming audio within seconds after the DAC3 is connected for the first time. No software or hardware configuration is usually required.

The analog inputs can be used for devices such as:

• Phono preamplifiers

• FM Tuners

• Tape Transports

• Analog VCR outputs

• iPod and MP3 devices

• Outputs from analog mixing consoles

Digital Inputs - Overview

All of the digital inputs on the DAC3 use Benchmark's UltraLock3™ system to remove virtually al l of the interface jitter. The result is that all digital inputs deliver identical audio performance. The USB, optical, and coaxial digital input s will all sound identica l if the y receive identical data.

Computer Input – USB

The USB input accepts a Type-B male USB connector. A Type-A to Type-B USB cable is provided with the DAC3. The USB cable connects the DAC3 directly to a computer’s USB output.

The USB input supports 44.1, 48, 88.2, 96,

176.4, and 192 kHz PCM sample rates at word lengths up to 24-bits. The USB input also accepts DSD in DoP 1.1 format.

USB Audio 2.0 is required for DSD and for all PCM sample rates exceeding 96 kHz. Windows computers require a driver to support the USB Audio 2.0 mode.

The USB Audio 1.1 mode was tested for compatibility with Windows XP, Vista, 7, 8 and 10, Mac OS X, and iPads using the 30-pin to USB Camera Kit. No driver ins t a l la t ion is required for any of these systems when operating in USB Audio 1.1 mode.

The USB Audio 2.0 mode was tested for compatibility with Windows XP, Vista, 7, 8 and 10 (driver installation is required for all Windows versions). It was also tested for compatibility with Mac OS X starting with version 10.6 (operation is driverless for all OS X versions).

Optical Digital Inputs - D1 and D2

The optical input connectors (D1 and D2) are commonly known as TOSLINK connectors. The TOSLINK optical connectors used on the DAC3 are designed to work well at sample rates up to 96 kHz. Maximum word length is 24-bits. All sample rates between 28 and 96 kHz are supported. The optical inputs may be unreliable at sample rates above 96 kHz. The optical inputs will accept professional AES/EBU data formats or consumer S/PDIF data formats.

The DAC3 can be configured as a USB Audio

1.1 or USB Audio 2.0 device. Press and hold the USB button on the REMOTE for three seconds to toggle the USB MODE. If a remote is not available, s imultaneously press and hold both input buttons on the front panel for three seconds.

The USB AUDIO 1.1 mode does not require the installation of a driver. It allows a quick driverless connection to windows machines when playing sample rates of 96 kHz or less. In this mode, Windows machines can begin

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 23

Tip: The optical inputs include dust caps.

Keep these in place if the input is not being used.

Coaxial Digital Inputs - D3 and D4

The coaxial digital inputs (D3 and D4) use female RCA connectors. The input impedance is 75 Ohms. Maximum word length is 24-bits. All sample rates between 28 and 195 kHz are supported. The coaxial digital inputs will accept professional AES/EBU data formats or

Page 24

consumer S/PDIF data formats. The coaxial inputs also accept DSD in DoP 1.1 format.

The coaxial digital inputs are D C isolated, current limited, and diode protected. The RCA body is bonded directly to the chassis to prevent currents in the internal ground system. This direct bonding also maximizes RF shielding.

Caution: Use 75-Ohm coaxial cables for

digital audio connections D3 and D4. Digital interfaces require the use of matched impedances. Do not use 50-Ohm coaxial cables, twisted pair cables, or any non-coaxial cables for digital audio. The digital inputs may not function, or may be unreliable if the incorrect cable is used.

The 12V TRIGGER I/O can be connected to the trigger input or output ports on a preamplifier, power amplifier, or both.

The DAC3 can send a 12 Volt trigger signal to start other components in the system, or it can wake up in response t o an externally generated trigger signal. The DAC3 automatically configures the 12V TRIGGER I/O port as an input (slave) or output (master). See the Bi-directional 12V Trigger section for more information.

The Benchmark 12V TRIGGER I/O has a wide operating range to allow interfacing with most other DC trigger systems. It should only be used with trigger inputs that are designed to tolerate 12 VDC.

Tip: The RCA analog inputs and outputs have

no restrictions on cable type. To avoid confusion, we recommend using 75-Ohm coaxial cables for all RCA connections. 75Ohm coaxial cables are compatible with digital audio, analog audio, and video.

Note: The Coaxia l in p u ts (D3 and D4) accept

professional or consumer digital audio formats. The AES3-id and SMPTE 276M standards speci fy a 75-Ohm, 1 Vpp, professional format which is also known as AES/EBU and is commonly used in video production facilities. The IEC 609588-3 standard specifies a 75-Ohm, 0.5 Vpp, consumer format which is also known as S/PDIF, and is commo nly used in hi-fi equipment. The coaxial inputs are designed to accept either type of signal.

12V TRIGGER I/O

The Benchmark bi-directional 12V TRIGGER is com patible with virtua lly all trigge r systems. The 12V TRIGGER I/O connection on the DAC3 can be used as an input, an output, or both. It is compatible with most 12 volt trigger inputs and outputs. The 12V TRIGGER can be used to turn other audio components on when the DAC3 turns on. The DAC3 can also turn on and off in response to trigger signals sent from other components.

• 12 VDC 200 mA current-limited output

• Input responds to 3.3 V logic and

higher

• Maximum input voltage = 30 VDC

• Maximum reverse input voltage = -0.3

VDC

• Input Impedance = 20 k Ohms

• 1/8" (3.5 mm) TRS jack

• Tip = 12 Volt Trigger I/O

• Ring = no connection

• Sleeve = chassis ground

Caution: The 12V TRIGGER I/O is not an

audio connection! This i s a 12V DC connection for synchronizing the on and off sequencing of an entire audio system.

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Outputs

Analog Outputs

The DAC3 has one pair of balanced XLR outputs and two pairs of unbalanced RCA outputs.

configuration is located in the Internal

Settings section of this manual.

Industry-Stand ard XLR Wiring

XLR pin 2 = + Audio Out

•

XLR pin 3 = - Audio Out

•

XLR pin 1 = Cable Shield

•

Caution: If the balanced XLR outputs are

wired to an unbalanced input (using a special adapter cable), pin 3 must be left floating. Shorting pin 3 to ground will increase the temperature of the output drivers, will increase power consumption, and may cause distortion.

The DAC3 features high-current output drivers that are capable of driving 300-Ohm loads without an increase in distortion. They are also well suited for driving long cables or high-capacitance loads.

Balanced XLR Analog Line Outputs

The Left and Right balanced outputs use Neutrik™ gold-pin male XLR jacks. The XLR shell and pin 1 (ground) are both directly bonded to the chassis to prevent currents in the internal ground system. This direct bonding also maximizes RF shielding.

The XLR outputs have passive attenuators that allow direct connections to a wide variety of audio devices without a loss of dynamic range. The 10 or 20 dB pads are usually required for direct interfacing to power amplifiers and powered speakers. The DAC3 ships with the pads disabled (0 dB setting). Use the 0 dB setting with the Benchmark AHB2 power amplifier. A full description of the output attenuators and instructions for

Unbalanced RCA Analog Outputs

The Left and Right unbalanced outputs use female RCA jacks. The ground connections are bonded to chassis ground at the location where analog ground is bonded to the chassis. This minimizes the effects of ground loops caused by AC currents in the cable shield. The RCA output impedance is very low (30 Ohms). This makes these outputs well suited for driving h igh-capacitance loads and/or high-capacitance cables.

Caution: Mono summing with an RCA ‘Y’

cable is not recommended as this will cause high amounts of distort i on. Mono summing with a ‘Y’ cable can be accomplished with the use of a modified cable by implementing a 1k Ohm series resistor in each leg of the ‘Y’.

Note: The XLR pads do not have any effect

on the level of the RCA outputs.

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AC Power-Entry and Fuse Module

Input Voltage Range

Note: The DAC3 is equipped with a universal

power supply. There is no voltage selection switch. AC voltage range is 88-264 VAC, 5060 Hz.

Fuses

Caution: For continued fire hazard

protection always replace the fuses with the correct size and type (0.5A 250 V

Slo-Blo

5 x 20 mm – Littelfuse® HXP218.500 or equivalent). The fuse drawer includes two fuses. Always replace both fuses at the same time.

Power Cord

Note: The AC power input uses a standard

IEC type connector. One USA-compatible power cord is included with DAC3 converters. IEC style power cords in country-specific configurations are available in your locality.

Caution: Always use a grounded power

cord. The DAC3 is equipped with a standard IEC power entry module. Use an IEC power cord that is equipped with the appropriate connector for your location. Cords are av ailable from you r dealer.

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Internal Settings

Balanced Output Drive Capability:

Attenuator Output Maximum Loss in dB

Setting (dB) Impedance Cable (ft) at 20 kHz

0 60 680 0.1

425 96 0.1

135 302 0.1

Unbalanced Output Drive Capability:

Output Maximum Loss in dB

Impedance Cable (ft) at 20 kHz

30 1360 0.1

XLR Output Pads

Jumper-Configured Options

The following functions are jumper configured:

• XLR Output Pads

• Headphone Mute Switches

• Headphone Gai n

• Digital Pass-Through

Removing Top Cover

The DAC3 cover must be removed to gain access to the jumpers. Do not attempt to remove the faceplate or rear panel.

Caution: The DAC3 contains static sensitive

components. Static discharge may cause component failures, may affect the long-term reliability, or may degrade the audio performance. Use a static control wrist strap when changing jumper settings.

• Disconnect AC power by unplugging the power cord at the back of the DAC3.

• Remove the 8 screws holding the cover (4 on each side).

• Do not remove any screws on the front, rear, or bottom panels!

• Never remove the power entry safety cover in the rear corner of the DAC3.

• Always connect a static-control wrist strap to the chassis before touching any internal component.

The XLR outputs are equipped with lowimpedance passive pads that may be used to reduce the output levels while preserving the full dynamic range of the DAC3. The DAC3 ships with the pads disabled (0 dB setting).

Tip: To set the XLR outputs are factory-

preset to deliver professional studio le vels. Most home installations will require the use of the 10 dB or 20 dB pads.

Tip: Use the factory-default 0 dB setting with

Benchmark's AHB2 power amplifier. When directly driving most other power amplifiers (or powered spea kers), start with the 10 dB pad setting. If necessary, change the pads so that normal listening levels are achieved when the VOLUME control is between the 11 o’clock and 3 o'clock positions.

When the output pads are enabled, the output impedance changes slightly, and the maximum recommended XLR cable length is reduced as shown in Table 1. The table assumes a cable capacitance of 32 pF/foot and a maximum allowable loss of 0.1 dB at 20 kHz.

Table 1 - Cable Drive Capability

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XLR Output Pad Jumpers

Four jumpers on four 6-pin headers (P8, P9, P10, and P11) allow selection of the output

level at the XLR jacks. The jumpers are properly configured if a normal playback level is achieved when the VOLUME control is set above the 11 o'clock position.

requirements are different the HEADPHONE

SWITCH can be defeated.

Headphone Switch Disable

The HEADPHONE SWITCH on the left-hand headphone jack can be defeated by adding jumpers at JP1 and JP2.

One pair of 6-pin headers control the attenuation at each XLR jack as follows:

• 0 dB - (Attenuator disabled) – (Jumper plug between pins 1 and 2 of each header) - Factory Default

• -10 dB – (Jumper plug between pins 3 and 4 of each header)

• -20 dB – (Jumper plug between pins 5 and 6 of each header)

• HEADPHONE SWITCH enabled (no jumpers at JP1 or JP2) - Factory Default

• HEADPHONE SWITCH disabled (jumpers installed at JP1 and JP2)

Figure 2 - Headphone Switch Enabled (Factory Default)

Figure 1 - Attenuators set to -10 dB

Headphone Switch Configuration

(DAC3 HGC only)

The left-hand headphone jack is equipped with a switch that will mute the analog outputs when a headphone plug is inserted. The right-hand headphone jack does not have a mute switch. In most cases it is convenient to have one jack that mutes the outputs and one that does not mute the outputs. If your

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 28

Figure 3 - Headphone Switch Disabled

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Headphone Amplifier Gain

(DAC3 HGC only)

The gain range of the HPA2™ can be set using jumpers JP3 and JP4:

• Gain = 0 dB - see Figure 4

• Gain = - 10 dB - see Figure 5

(Factory Default)

• Gain = - 20 dB - see Figure 6

The jumpers change the gain of the HPA2™ headphone amplifier without changing the output impedance. This keeps the output impedance of the HPA2™ constant and very near 0 Ohms. External attenuators should never be inserted after a headphone amplifier as this would change the output impedance and alter the frequency response of the headphones.

Tip: When the headphone gain jumpers are

set properly, a normal listening level will be achieved at a VOLUME control setting above the 11 o'clock position.

Tip: If a normal listening level is achiev ed

below an 11 o’clock VOLUME setting, the headphone gain is too high, and the gain should be decreased.

Tip: If the level is too low at the maximum

VOLUME setting, the headphone gain is too

low, and the gain should be increased.

Figure 4 - HPA2™ Gain is 0 dB

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 29

Figure 5 - HPA2™ Gain is - 10 dB

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Figure 7 – Digital PASS-THROUGH Enabled

Figure 6 - HPA2™ Gain is - 20 dB

Digital PASS-THROUGH Function

The digital PASS-THROUGH function can be enabled by moving both P14 jumpers toward the faceplate shown in Fi gure 7. Once the jumpers are moved into the position shown in Figure 7, D4 is configured as a digital audio output. When the PASS-THROUGH function is enabled, D4 cannot be selected as an input. Any other selected digital input will be routed to both the internal D/A converter and to output D4. The digital output at D4 is buffered, but is not processed. Many digital audio formats can be passed through to D4 (even when these formats cannot be decoded by the DAC3).

By default, D4 functions as a digital input and the jumpers are set according to Figure 8.

Figure 8 - Digital PASS-THROUGH Disabled (Factory Default)

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Rack Mounting

An optional rack mount tray allows the mounting of any two ½-wide Benchmark products in a single rack space. A blank plate can be added when only o ne unit is installed in the rack mount tray.

The Benchmark Rack Mount Tray and Benchmark ½-Wide Blank Plate are available from Benchmark.

Benchmark Rack Mount Tray

Benchmark ½-Wide Blank Plate

The Benchmark ½-Wide Blank Plate is a ½-wide 1-RU anodized aluminum panel for covering an unused slot in the Benchmark Rack Mount Tray. It is available in black or silver. The silver panel includes an engraved Benchmark logo.

The Benchmark Rack Mount Tray mounts up to two ½-wide Benchmark products in a single race space. The tray accepts any combination of ½-wide Benchmark products (with or without rack-mount type faceplates).

Visit BenchmarkMedia.com selection of cable, accessories, and replacement parts.

for a complete

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DAC1, DAC2 and DAC3 Family History

The pristine audio performance of the awardwinning DAC1 made it the ‘Benchmark’ of stand-alone D/A converters. The DAC1 USB, DAC1 PRE , and DAC1 HDR added many features to the basic DAC1 platform. Benchmark converters are in use in many of the world's top studios.

• Three coaxial digital inputs

• Three Headphone Gain Ranges

• LM4562/LME49860 opamps throughout

• Premium bulkhead-mounted RCA

connectors

In order to provide room for the analog inputs, we removed the XLR dig it al input and replaced it with two additional coa xial digit al input s .

DAC1 HDR

The follo w in g is a brief overview of the various Benchmark DAC1, DAC2 and DAC3 models:

DAC1 Series

DAC1

Benchmark's original DAC1 converter.

The DAC1 features included:

• Three digital inputs

• XLR outputs with passive pads

• RCA outputs

• Analog volume control

• HPA2™ headphone amplifier

• UltraLock™ jitter-attenuation system

DAC1 USB

The DAC1 USB introduced these improvements:

• AdvancedUSB™ computer input

• Mute switch on the left headphone jack

• Two headphone gain ranges

• High-current LM4562/LME49860 output

stages - designed to driv e d if ficult lo a d s

• Lower output impedances

Benchmark's AdvancedUSB™ computer input was the first USB audio interface to support 96 kHz aud io wit h o u t th e need to ins t a ll s p e c ia l drivers.

DAC1 PRE

The DAC1 PRE added th e se improvements:

The DAC1 HDR added:

• IR Remote Control

• HDR-VC™ (high dynamic range

volume control).

The HDR-VC™ features a custom-made, motor-driven Alps potentiometer. The motordriven control provides the audio performance of a manual control while adding the convenience of remote control.

DAC2 Series

DAC2 HGC

The DAC2 HGC maintains the familiar ½-wide DAC1 form factor, but the entire product was

redesigned from the ground up.

The DAC2 HGC features:

• Four 32-bit converters per channel

• Native 24-bit/192kHz PCM conversion

• Native 64X DSD conversion

• High-headroom digital processing

• UltraLock2™ jitter attenuation

• Multi-mode asynchronous USB audio

input

• Sample rate and word length displays

• Polarity control

• Home theater bypass

• Digital pass-through

• Bi-directional 12V trigger

• Two stereo analog inputs

• Three stereo analog outputs

• Two optical in pu t s

• High-effic ie n c y low-noise power

supplies

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DAC2 L

DAC3 vs. DAC2

The DAC2 L is identica l to t he DAC2 HGC except that the DAC2 L has no headphone amplifier.

DAC2 D

The DAC2 D is identical t o t he DAC2 HGC except that the DAC2 D has no analog inputs and no 12V trigger.

DAC2 DX

The DAC2 DX replaced the DAC2 D. The new model added an XLR digital input and the 12V trigger. It also added a second output bus so that one set of outputs could be placed in calibrated mode while the other was controlled by the volume knob.

DAC3 Series

On the surface, the DAC3 series converters look exactly like the DAC2 converters. They have the same controls, the same connectors, and even the similar-looking circuit boards. The difference is that many critical components and sys te ms have been upgraded. The new DAC3 delivers lower THD, improved digital filter in g, and fa s ter PLL loc k t im es .

The DAC3 series adds the following improvements over the DAC2 series:

• ESS SABRE-PRO D/A Conversion

• UltraLock3™ clock system

o Instantaneous lock o Instantaneous input switching

• THD reduction system

o 2nd-harmonic compensation o 3rd-harmonic compensation

• Improv e d d ig it al filte r s

o Lower passband ripple o Flatter frequency response

• Higher maximum output level

• Increased Dynamic Range

The firmware, digital s ig n a l p r o cessing, and UltraLock™ clock system have all been upgraded in the new DAC3. Most notably, the DAC3 series includes the new ES9028PRO D/A converter. This groundbreaking D/A converter IC offers several significant improvements over the ES9018 converter used in the DAC2 series. Until the ES S P RO series wa s introduced, the ES9018 was the highest performance D/A converter IC av ailable . The ESS PRO series converters are now setting this benchmark. The Benchmark DAC3 is one of the first products to feature this new 32-bit D/A converter.

Benchmark's ultra-clean analog stages, lowjitter UltraLock3™ clock system, and highheadro o m D SP lev e r a ge th e f ull capabi l ities of the new ESS PRO series converters.

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Benchmark Technologies

Native DSD Conversion

Hybrid Gain Control™

HGC™ is Benchmark's unique Hybrid Gain Control™ system. The DAC3 combines active

analog gain control, pass ive low-impedance attenuators, a 32-bit digital gain control, and a servo-driven volume control.

All inputs are controlled by the rotary volume control. This volume control moves in response to commands from the remote control. Analog inputs are never converted to digital, and digital inputs never pass through an analog potentiometer. Dig it al inputs are precisely controlled in the 32-bit DSP system. The DSP system preserves precise L/R balance, and precise stereo imaging, while avoiding any source of noise and distortion.

Benchmark's unique passive output attenuators provide distortion-free gain reduction without reducing the dynamic range of the converter. The attenuators optimize the gain staging between the DAC3 and the power amplifier. This optimization is absolutely essential for maximizing the dynamic range of the entire playback system. Much of the success of the DAC1 and DAC2 converters can be attributed to the passive output attenuators. Musical details can be obscured by system noise whenever a preamplifier and power amplifier are improperly matched. The HGC™ system in your DAC3 will make full use of your power amplifier's dynamic range. Experience newly revealed details in your favorite recordings.

The front-panel volume control is a servodriven gain control built around a custommade Alps potentiometer. The custom Alps pot is equipped with a remote-controllable motor drive.

This potentiometer is equipped with a clutch which prevents damage from overriding the motor drive. If the pot is driven beyond the end of its range, it will not damage the motor. Also, if the p ot is manually overridden, it will not damage the motor.

The digital coaxial inputs and the USB Audio

2.0 input on the DAC3 support native DSD

conversion. DoP 1.1 DSD encapsulation is automatically detected on all digital inputs. The system seamlessly switches to native DSD conversion when DoP is detected. DoP

1.1 DSD encapsulation is supported by many

media players. DSD downloads are now available from several sources.

Visit our website for an up-to-date list of DSD and PCM high resolution download sites.

High Headroom DSP

All of the digital processing in the DAC3 is designed with a headroom of 3.5 dB above 0 dBFS. A sinusoid that just reaches the maximum positive and negative digital codes has a level of 0 dBFS. If the peaks of the sinusoid occur between samples, higher signals can be captured without clipping. For a pure tone, the maximum intersample peak that can be represented by a PCM system is +3.01 dBFS.

Benchmark's high-headroom DSP can handle intersample peaks without overloading or clipping. Intersample peaks are cleanly rendered by the DAC3 and are delivered to the analog outputs without clipping or distortion. Very few D/A converters can make this claim!

In most D/A conversion systems, intersample peaks cause overloading of the upsampling interpolators and digital filters that a re found in all sigma-delta converters. When overloads occur, bursts of non-harmonic distortion are produced. These bursts of high-frequency distortion may occur many times per second and may add a false brightness and harshness to the sound. This defect impacts PCM formats but does not impact 1-bit DSD formats. The absence of intersample clipping may explain some people's preference for DSD. The DAC3 delivers clean PCM conversion that meets or exceeds the clarity of DSD.

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Intersample Overs

(1 = Maximum Digital Code)

Conventional Interpolation

(Intersample Overs are Clipped)

1.5

0.5

-0.5

-1

-1.5

Intersample overs are common in low sam ple rate (44.1 kHz and 48 kHz) commercial releases. Due to the mathematics and the bandwidth of typical input signals, intersample overs are less of a problem in high sample rate recordings. The reason for this is that the worst-case (+3.01 dB) intersampl e ove rs occurs for pure tones that are exactly 1/4 of the sample rate (as shown in the figure above). At the 44.1 kHz CD sample rate, the worst case occurs at 11.025 kHz. It turns out that many recordings have substantial peaks near this frequency. I n contrast, at a sample rate of 88.2 kHz, the worst-case intersample overs occur at a frequency of 22.1 kHz where most musical sources have insufficient energy to produce significant intersample overs. The 88.2 kHz sample rate is still susceptible to intersample overs, but the magnitude of the worst-case overs tends to be much lower. For example, at 1/8th of the sample rate (11.025 kHz), the maximum intersample peak is about +0.66 dB instead of the 3.01 dB worst case at a sample rate of 44.1 kHz.

The biggest advantage of higher sample rates may be the immunity to intersample overs. If higher sample rates sound better, this difference may be entirely due to the absence of DSP overloads cau se d by intersample overs. Benchmark's high-headroom DSP renders low sample rates with the clarity and detail normally associated with high sample rates.

Analog Audio

Digital Samples

1.5

0.5

-0.5

-1

-1.5

PCM systems can accurately capture peaks that exceed 0 dBFS, but these peaks will overload the oversampling interpolators in most delta-sigma D/A converters. The solution is not to eliminate the interpolation process; the solution is to build interpolators with more headroom.

High-Headroom Interpolation

(Intersample Overs are Not Clipped)

1.5

0.5

-0.5

-1

-1.5

The interpolation process is absolutely necessary to achieve 24-bit state-of-the art conversion performance. Unfortunately, intersample overs cause clipping in most interpolators. This clipping produces distortion products that are non-harmonic and nonmusical. We believe these broadband distortion products often add a harshness or false high-frequency brightness to digital reproduction. The DAC3 avoids these problems by maintaining at least 3.5 dB of headroom in the entire conversion system. We believe this added headroom is a groundbreaking improvement.

Analog Audio

Digital Samples

Analog Audio

Digital Samples

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32-bit SABRE-PRO D/A System

Four balanced 32-bit D/A converters deliver audio to Benchmark's low-impedance current to voltage converters. The 4:1 redundancy reduces noise by 6 dB. The redundancy also reduces the THD. The conversion system at the core of the DAC3 is as good as it gets. The analog circuits that follow the D/A converter are carefully designed. Benchmark has leveraged its long history of building reference analog audio equipment to create an outstanding output stage.

Diagnostic Displays

Ever wonder why that 192 kHz 24-bit download on your computer just doesn't sound right? Your media player or comput er may be downsampling to 44.1 kHz and/or truncating to 16-bits. Many media players and computer operating systems apply poorquality sample rate conversion and/or truncation. Fortunately these problems can be eliminated w ith the selection of a good frequency-agile media player.

Many disk players also downsample all sources to 44.1/16. This processing can do significant damage to the audio quality.

The sample-rate and word-length displays on the DAC3 confirm the proper operation of your disk player, media play er, and computer.

Bi-Directional 12 Volt Trigger

button on any Benchmark device can be used to start or stop the entire audio system in a sequenced manner.

Distributed Power Regulation

To achieve the lowest possible noise, the DAC3 uses distributed power supply regulation. Each critical subsystem has at least one dedicated low-noise voltage regulator.

We have created a discrete ultra low-noise regulator for the ES9028PRO D/ A con verter. This Benchmark exclusive feature improves the noise performance of the alreadyoutstanding ES9028PRO.

HPA2™ Headphone Amplifier

The DAC3 headphone output is driven by Benchmark’s signature HPA2™ headphone power amplifier. This high-current, highoutput amplifier has an output impedance that is nearly 0 Ohms. It is designed to drive loads as low as 30 Ohms without any increase in distortion. It also has sufficient amplitude to drive low-sensitivity 600-Ohm headphones.

The HPA2™ includes current-limiting circuits that fully protect against damage from short circuits. This is important because the right channel of a headphone a mplifier will experience a short whenever a mono phone plug is inserted into the stereo headphone jack. Shorts may also occur when a plug is partially inserted.

Benchmark has re-invented the 12 volt trigger. The trigger connection on the DAC3 can be used as an input or output or both, and is compatible with any common 12 volt trigger input or output. The trigger can be used to turn a power amplifier on or off automatically. The DAC3 will also respond to a 12 volt trigger and follow the actions of another audio component.

Benchmark component s can communicate bidirectionally on the trigger I/O ports. This bidirectional communication provides greater flexibility. In a given system, the power

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"0-Ohm" Output Impeda nc e

Most headphone amplifiers use series resistors to maintain stability and protect against short-circuit conditions. These resistors are usually at least 30 Ohms, and have a negative impact on performance. A headphone amplifier with series resistors may measure very well on a test bench when driving resistive loads. However, the same amplifier will measure very poorly when driving a headphone load. Unfortunately, most manufacturers do not measure or specify headphone amplifier performance

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when loaded with real headphones. The measurements use ideal resistive loads. Our measurements show that headphones do not behave like resistive loads.

Headphone Performance

In our tests we have measured substantial distortion across resistors that are wired in series with headphones. We have conducted measurements with a variety of headphones. In general, distortion increases as headphone impedance decreases. This distortion can be eliminated with a properly designed "0-Ohm" headphone amplifier.

The performance of the HPA2™ does not change when headphones are driven. THD+N measurements for no-load, 30-Ohm resistive loads, 30-Ohm headphone loads, and 600Ohm headphone loads are virtually identical. The HPA2™ will substantially improve the sound of 30 and 60-Ohm headphones. It will make very noticeable improvements with 600-Ohm headphones.

Differential Amplifiers

Differential amplifiers remove common-mode distortion components from the D/A converter outputs. This feature is critical for achieving low-distortion in down-stream devices. Benchmark addresses common-mode distortion so that it will not cause distortion in power amplifiers and other conn ected devices. Common-mode distortion can cause audible distortion while escaping the scrutiny of an audio analyzer. The balanced and unbalanced outputs on the DAC3 deliver very similar performance.

Jitter-Immune UltraLock3™

UltraLock3™ is an improved version of the UltraLock2™ clock system used in the DAC2. The new UltraLock3™ system

provides faster lock times than the older UltraLock2™ and UltraLock™ system s. Th e DSP processing is 32-bits, DSP headroom is

3.5 dB, sample rate is 211 kHz, and jitter-

induced distortion and noise is at least 160 dB below the level of the music - well below the threshold of hearing. Benchmark's UltraLock3™ system eliminates all audi ble jitter artifacts.

The Importance of Eliminating Jitter

Accurate 24-bit audio conversion requires a very low-jitter conversion clock. J itter can very easily turn a 24-bit converter into a 16bit converter (or worse). There is no point in buying a 24-bit converter if clock jitter has not been adequately addressed.

Jitter is present on every digital audio interface. This type of jitter is known as ‘interface jitter’ and it is present even in the most carefully designed audio systems. Interface jitter accumulates as digital signals travel down a cable from one digital device to the next. If we measure interface jitter in a typical system we will find that it is 10 to 10,000 times higher than the maximum allowable level for accurate 24-bit conversion. Fortunately, interface jitter has absolutely no effect on the audio unless it influences the conversion clock in an analog-to-digital converter (A/D), the conversion clock in a digital-to-analog converter (D/A), or the rate estimator in an asynchronous sample rate converter (ASRC).

Many D/A converters omit the differential amplifiers after the converters. Specifications usually ignore common-mode distortion. A balanced sign al with high common-mode distortion can measure just fine when feeding a precisely balanced input on a high-quality audio analyzer. However, any imbalance in a downstream device will expose the commonmode distortion.

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Many converters use a single-stage Phase Lock Loop (PLL) circuit to derive their conversion clocks from AES/EBU, wordclock, or superclock reference signals. Single-stage PLL circuits provide some jitter attenuation above 5 kHz but none below 5 kHz. Unfortunately, digital audio signals often have their strongest jitter components at 2 kHz. Consequently, these converters can achieve their rated performance only when driven

Page 38

from very low jitter sources and through very short cables. It is highly unlikely that any converter with a single-stage PLL can achieve better than 16 bits of performance in a typical installation. Specified performance may be severely degraded in most installations.

Better converters often use a two-stage PLL circuit to filter out more of the interface jitter. In theory, a two-stage PLL can remov e enough of the jitter to achieve accurate 24-bit conversion (and some do). However, not all two-stage PLL circuits are created equal. Many two-stage PLLs do not remove enough of the low-frequency jitter. In addition, twostage PLL circuits often require several seconds to lock to an incoming signal. Twostage PLL circuits may fail to lock when jitter is too high, or when the reference sample frequency has drifted.

UltraLock™ converters exceed the jitter attenuation performance of two-stage PLL converters while achieving near instantaneous lock time. They are free from the slow-lock and no-lock problems that can plague twostage PLL designs. UltraLock™ converters have extremely high immunity to interface jitter under all operating conditions.

The UltraLock™ system is so effective that no jitter-induced artifacts could be detected using an Audio Precision System 2 Cascade test set while the inputs to the DAC3 were exposed to high levels of interface jitter. The measurement limits includ ed the ability to detect artifacts as low as –144 dBFS, but none could be detected, even while applying jitter amplitudes as high as 12.75 UI, over a frequency range of 2 Hz to 200 kHz. Any AES/EBU signal that can be decoded by the AES/EBU receiver in the DAC3 will be reproduced without the addition of any measurable jitter artifacts.

Benchmark’s UltraLock™ technology eliminates jitter-induced performance problems. UltraLock™ technology isolates the co nvers ion clock from the dig ital audio interface cl ock. Jitter on a D/A digital audio input, or an A/D reference input can never have any measurable effect on the conversion

clock of an UltraLock™ converter. In an UltraLock™ converter, the conversion clock is never phase-locked to a reference clock. Instead the converter oversampling-ratio is varied with extremely high precision to achieve the proper phase relationship to the reference cl ock. The clock isolation of the UltraLock™ system ensures that interface jitter can never degrade the quality of the audio conversion. Specified performance is consistent and repeatable in any installation with cables of any quality level!

How does conversion clock jitter degrade converter performance?

Problem #1: Jitter phase-modulates the

audio signal. This modulation creates sidebands (unwanted tones) above and below every tone in the audio signal. Worse yet, these sidebands are often widely separated from the tones in the original signal.

Jitter-induced sidebands are not musical in nature because they are not harmonically related to the original audio. Furthermore, these sidebands are poorly masked (easy to hear) because they can be widely separated above and below the frequencies of the original audio tones. In many ways, jitter induced distortion resembles intermodulation distortion (IMD). Like IMD, jitter induced distortion is much more audible than harmonic distortion, and more audible than THD measurements would suggest.

Jitter creates ‘new audio’ that is not harmonically related to the original audio signal. This ‘new audio’ is unexpected and unwanted. It can caus e a loss of imaging, and can add a low and mid frequency ‘muddiness’ that was not in the origi nal audio.

Jitter-induced sidebands can be measured using an FFT analyzer while the converter plays a pure high-amplitude tone. We typically use a full-scale 10 kHz test tone to test for the presence of jitter-induced side bands (see Graph 16Graph 16 shows that the DAC3 is free from any jitterinduced sidebands to a measurement limit of about -144 dB relative to the level of the test

). This FFT

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tone. The graph plots the output spectrum of the DAC3 when exposed to 31 different jitter frequencies ranging from 100 Hz to 100 kHz. All 31 output spectra are identical and are free from any signs of jitter-induced distortion.

Problem #2: Jitter can severely degrade the anti-alias filters in an oversampling converter. This is a little known but easily measurable effect. Most audio converters operate at high oversampling ratios. This allows the use of high-performance digital anti-alias filters in place of the relatively poor performing analog anti-alias filters. In theory, digital anti-alias filters can have extremely sharp cutoff characteristics, and very few negative effects on the in-band audio signal. Digital ant i-alias filters are usually designed to achieve at least 100 dB of stop-band attenuation. But, digital filters are designed using the mathematical assumption that the time interval between samples is a constant. Unfortunately, sample clock jitter in an A/D or D/A varies the effective time interval between samples. This variation alters the performance of these carefully designed filters. Small amounts of jitter can severely degrade stop-band performance, and can render these filters useless for preventing aliasing.

The obvious function of a digital anti-alias filter is the removal of audio tones that are too high in frequency to be represented at the selected sample rate. The not-so-obvious function is the removal of high-frequency signals that originate inside the converter box, or even originate inside the converter IC. These high-frequency signals are a result of crosstalk between digital and analog signals, and may have high amplitudes in a poorly designed system. Under ideal (low jitter) conditions, the digital anti-alias filter may remove most of this unwanted noise before it can alias down into lower (audio) frequencies. These crosstalk problems may not become obvious until jitter is present.

Stop-band attenuation can be measured very easily by sweeping a test tone between 24 kHz and at least 200 kHz while monitoring the output of the converter.

Put UltraLock™ converters to the test:

We encourage our customers to perform the above tests on UltraLock™ converters (or let your ears be the judge). There will be absolutely no change in performance as jitter is added to any digital input on an UltraLock™ converter. Try the same tests on any converter using conventional single or two-stage PLL circuits. Tests should be performed with varying levels of jitter and with varying jitter frequencies. The results will be very enlightening. Jitter related problems have audible (and measurable) effects on A/D and D/A devices. Pr actitioners of Digital Audio need to understand these effects.

Is it possible to el iminate all of the effects of jitter in an entire digital audio system?

Interface jitter will accumulate throughout

even t he most carefully designed digital audio system. Fortunately, interface jitter can only degrade digital audio if it affects the sampling circuit in an a nalog-to-digital or digital-to-analog converter. Any atte m pt to cure jitter outside of an A/D or D/A will prove expensive and, at best, will only partially reduce jitter-induced artifacts. Dedicated clock signals (word clock, and super clock, etc.) are often distributed to A/D conver ters and D/A converters in an attempt to reduce jitter. Again, these are only partial s olutions because jitter even accumulates in these clock distribution systems. Furthermore, a poor quality master clock generator can degrade the performance of the entire system (if converter performance is dependent upon reference clock quality). Jitter-free A/D and D/A converters are the only true insurance against the ill effects of jitter. UltraLock™ converters are jitter-immune under all operating conditions (they will never add audible jitter-induced artifacts to an audio signal).

What UltraLock™ converters cannot do:

UltraLock™ converters cannot undo damage

that has already been done. If an A/D with a jitter problem was used to create a digital

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audio signal, then there is nothing that can be done to remove the jitter-induced distortion that happened inside the A/D converter. Jitter-induced sidebands are extremely complex and cannot be removed with any existing audio device. Therefore, it is very important to attack jitter at both ends of the audio chain. The DAC3 is a great start, as it will allow accurate assessment of various A/D converters. It is impossible to audibly evaluate A/D performance without a good D/A. The consistent performance delivered by the DAC3 eliminates one major variable jitter.

Multi-Mode Asynchronous USB Audio

Plug it in and Start Listening… Immediately

Benchmark's Advanced USB Audio system supports the industry standard USB Audio

1.1 and USB Audio 2.0 protocols. These audio protocols should not be confused with USB port speeds. The USB Audio 1.1 protocol requires at least a USB 1.0 (Full Speed) port. USB Audio 2.0 requires at least a USB 2.0 (High Speed) port.

Benchmark's USB Audio 1.1 and USB Audio

2.0 modes are frequency agile. This means that the sample rate is controlled by the computer. The DAC3 will follow sample rate changes initiated by the computer and/or the media playback software.

Tip: The USB Audio 1.1 protocol will run on

any USB port, but if it is run on a USB 1.0 (Full Speed) port, it will require all of the available bandwidth to support 96 kHz sample rates. If a USB 1.0 port is the fastest port available, make sure that there are no other devices sharing the USB hub that services the port. When possible, connect the DAC3 to a port that supports USB 2.0 or higher.

Tip: The USB Audio 2.0 protocol is required

for sample rates above 96 kHz. This protocol will not run on USB 1.0 ports. When possible, connect the DAC3 to a port that supports USB 2.0 or higher.

Asynchronous USB

In all modes the USB communications are asynchronous. An ultra low jitter conversion clock is generated inside the DAC3. The asynchronous USB interface pulls data from the computer without using computergenerated clocks. The D/A conversion in the DAC3 is completely isolated by the asynchronous USB interface and by the UltraLock3™ jitter-attenuation system.

The DAC3 has a low-jitter mast er clock which controls the transfer of audio data from the computer to the USB sub-system. The computer asynchro nously transfers audio data to a buffer in the DAC3. The contents of the buffer are then asynchronously transferred to the D/A conversion sub-system. This second asynchronous tra nsfer eliminates any trace s of jitter that accumulate as the data is transferred between the USB and conversion subsystems. No traces of jitter-induced distortion are detectable at our measurement limits (about -144 dBFS). This truly represents the state-of-the art. Enjoy the convenience of computer playback without compromise.

The Asynchronous USB system supports USB Audio 2.0 for high-resolution 192kHz, and DSD playback. No drivers are required for MAC operating systems. An easy-to-install driver adds 192 kHz and DSD capabilities to Windows operating systems.

The asynchronous driverless USB Audio 1.1 mode supports sample rates up to 96 kHz. This USB mode can be selected from the front panel or from the remote control. The driverless USB Audio 1.1 mode allows quick plug-and-play connections to Windows, MAC, iOS, and Linux operating systems without installing drivers. Just plug in the USB, and the DAC3 becomes an available audio device. In many cases, audio will automatically be routed to the newly connected device. If not, it can be selected as the current or default playback device.

The industry-standard USB Audio Mode 2.0 mode is not yet natively supported by the

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current Windows operating systems. For this reason, a driver is required for Windows operating systems. The driver supports Windows XP, Vista, or 7, 8 and 10. This driver is required for DSD and sample rates above 96 kHz when using Windows.

The USB subsystem is computer powered (through the USB cord) and it remains active

when the DAC3 is powered down. This feature prevents interruptions to the computer playback operations and eliminates the need to reconfigure the computer every time the converter is turned on.

The Windows USB Audio 2.0 driver is available at:

BenchmarkMedia.com/drivers

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 41

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USB Driver Installation

Windows Operating Systems

Note: The DAC2/DAC3 driver is available for download at: BenchmarkMedia.com/drivers

Note: To provide full backward and forward compatibility, the DAC3 uses the DAC2 USB drivers.

This prevents the need to install two different sets of drivers. Please note that the DAC3 USB input will be identified as "Benchmark DAC2" in your computer control panels. This is intentional.

Before you install the driver, make sure the USB cable is unplugged.

1. In the DAC2 Driver fold er, double click “setup.exe.”

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2. A welcome scr een will pop-up. Click “Next.”

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3. When you see the following sc reen, turn on the DAC3, plug in the USB cable, and select the USB input on the DAC3. By default, the DAC3 is shipped in USB Audio 1.0 mode. Do not proceed to the next step until the USB Audio 2.0 mode has been enabled. You can enable the USB Audio 2.0 mode using one of the following two methods:

• METHOD 1 - REMOTE CONTROL: Using your remote control, press and hold USB button for 3 seconds (the 4X light should flash on ce). If the 2X light flashes instead of the 4X light, repeat this step.

• METHOD 2 - FRONT PANEL: From the front panel, simultaneously press and hold both INPUT buttons for three seconds (the 4X light should flash once). If the 2X light flashes instead of the 4X light, repeat this step.

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4. You will now be prompted to select a location to install the driver. It will default to your Program Files folde r. If you wish to install it another location, you can change the location. We suggest keeping it in the default location. Click “Install”.

5. When the installation begins you will see the following screen. Please be patient while the driver installs. Installation may require several minutes.

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6. When the installation finishes a message at the top will say “Installation Complete.” Click “Next” to continue.

7. Click “Finish.” The Setup will close automatically. This completes the installation process. You can now en j oy mu sic over the USB Audio 2.0 connection at sample rates up to 192 kHz. DSD can also be played in DoP 1.1 format.

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Performance Graphs

Audio Precision

DAC3 - FFT Idle Ch ann el N oise a t Max Gain, 0 dB r = 0 dBFS = 27.5 dBu

DAC3 - FFT Idle Channel Noise.at27

Color

Sweep Trace Line Style

Thick Data Axis

Comment

1 Green

Solid 4 Fft.Ch.1 Ampl

Left

1 2 Red

Solid 4 Fft.Ch.2 Ampl

Right

-160

-140

-120

-100

-80

-60

-40

-20

-160

-140

-120

-100

-80

-60

-40

-20

32k

4k 6k

8k 10k

12k

14k

16k

18k

20k 22k

24k

26k

28k

30k

Graph 1 – FFT Idle Channel Noise

The extraordinary performance of the DAC3 is demonstrated by the FFT plot shown above. There is no sign of any AC hum, there are no idle tones, and there are no spurious tones detected at a measurement limit of -160 dBFS.

The rise at 0 Hz is normal in an F FT analysis a nd is not an indication of noise. This 32k point FFT analysis uses a Blackman-Harris window with 16x power averaging, and spans a frequency range of DC to 32 kHz.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 47

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Graph 2 - Low Frequency FFT - AC Line-Related Hum

Audio Precision

DAC3 - FFT Idle Ch annel Noise - Low Frequency , 0 dBr = 0 dBFS = 27.5 dBu

DAC3 - FFT Idle Channel Noise - Low Fr equenc y.at27

Color

Sweep Trace Line Style

Thick Data Axis

Comment Cursor1 Cursor2

1 1 Green Solid 4 Fft.Ch.1 Ampl Left

Left Channel *-160.182 dB r *-158.092 dBr

1 2 Red Solid 4 Fft.Ch.2 Ampl Right Right Channel -159.850 dBr A -160.611 dBr A

-160

-140

-120

-100

-80

-60

-40

-20

-160

-140

-120

-100

-80

-60

-40

-20

-160.182

-158.092

400

50 75

100

125 150

175

200

225

250

275 300

325

350

375

59.4129

180.626

dx=121.213 Hz

dy=+2.090 dB

The DAC3 shows no evidence of AC line-related hum to a measurement limit of about -160 dBFS. The cursors are placed at 60 Hz and 180 Hz (frequencies where we would expect to see interference from the 60 Hz AC input. In the idle channel noise spectrum there is absolutely no sign of any AC hum! At full output, these line-related frequencies still measure better than -133 dB (see

Graph 4

This graph demonstrates one of the advantages of switching power supplies. The switching power supplies in the DAC3 operate at frequencies above the audio band and this eliminates the strong line-frequency magnetic fields that would have been created by line-frequency power transformers.

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Audio Pr ecision

DAC3 - FFT 10 kHz, 0 dBr = 0 dBFS = 24 dBu

DAC3 - F FT 10 kHz.at27

ColorSweep Trace

Line Style Thick

Data

Axis Comment

Source 2 Cursor1 Cursor2

1 2 Green Solid 4

Fft.Ch.1 Ampl Left : 1.00000 = S wr .Ch. A Input *-111.013 dBr *-124.989 dBr

2 2 Red Solid

4 Fft.Ch.1 Ampl

Left : 2.00000 =S wr .Ch. A Input

-111.241 dBr A

-127.362 dBr A

-160

-140

-120

-100

-80

-60

-40

-20

-111.013

-124.989

0 32k 2k 4k 6k

10k 12k 14k 16k 18k 20k 22k 24k

26k

28k

30k

20.0391k 30.0587k

dx=10.0196 kHz

dy=-13.975 dB

Graph 3 - FFT 10 kHz

The 10 kHz FFT analysis is an excellent test for detec ting sample clock jitter. Jitter will create sidebands (unwanted tones) above and below the 10 kHz test tone. For example, a jitter frequency of 1 kHz would create two sideband tones; a lower sideband at 9 kH z, and an upper sideband at 11 kHz. Similarly, a jitter frequency of 2 kHz would produce sideband tones at 8 kHz and 12 kHz. The above plot shows no evidence of jitter-induced sidebands to a measurement limit of about -149 dB relative to the amplitude of the 10 kHz test tone.

Note the very low harmonic distort ion; the 2nd harmonic (20 kHz) measured -111 dB, and the 3rd harmonic (30 kHz) measured -125 to -127 dB.

This 32k point FFT analysis uses a Blackman-Harris window with 16x power averaging. The 10 kHz fundamental has been removed by a notch filter in order to increase the resolution of the A/D converter in the AP2722 test set.

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Audio Pr ecision

DAC3 - FFT 1 kHz, 0 dBr = 0 dBFS = 24 dB u

DAC3 - F FT 1 kHz.at27

ColorSweep

Trace

Line Style Thick Data

Axis Comment Source 2 Cursor1 Cursor2

2 Green Solid 4 Fft.Ch.1 Ampl Left Left Channel : 1.00000 =S wr .Ch. A Input -125.680 dBr A -123.514 dBr A

2 2

Red

Solid 4 Fft.Ch.1 Ampl

Left Right Channel : 2.00000 = S wr .Ch. A Input *-133.647 dBr *-122.546 dB r

-160

-140

-120

-100

-80

-60

-40

-20

-133.647

-122.546

0 3.4k 200 400

600

800 1k 1.2k 1.4k 1.6k 1.8k 2k 2.2k 2.4k 2.6k 2.8k

3k 3.2k

dx=1.00000 kHz

dy=+11.101 dB

Graph 4 - FFT 1 kHz

The 1 kHz FFT analysis demonstrates the very low harmonic distortion of the DAC3. The second harmonic distortion (2 kHz) measured better than -126 dB, while the 3rd harmonic distortion measured better than -122 dB relative to the amplitude of the 1 kHz test tone.

This 32k point FFT analysis uses a Blackman-Harris window with 16x power averaging. The 1 kHz fundamental has been removed by a notch filter in order to increase the resolution of the A/D converter in the AP2722 test set.

Note that under this full-output co ndition, the AC line-related hum frequencies (60 Hz, 180 Hz, and 240 Hz) measure better than - 133 dB.

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Audio Precision

11/01/ 16 12:38:28

DAC3 - FREQUEN CY RESPONSE

Fs = 192 k Hz

DAC3 - Frequency Response.at27

ColorSweep

Trace Line Style Thick

Data Axis Comment Cursor1 Cursor2

1 Red Solid 4 Anlr.Lev el A Left *-0.015 dBr *-0.031 dB r

-10

-9.5

-9

-8.5

-8

-7.5

-7

-6.5

-6

-5.5

-5

-4.5

-4

-3.5

-3

-2.5

-2

-1.5

-1

-0.5

-0

+0.5

-0.015

-0.031

10 90k 20

100 200 500 1k

2k 5k 10k 20k

50k

10.0021

40.8557k

dx=40.8457 kHz

dy=-0.016 dB

Graph 5 - Frequency Response

This plot demonstrates the ruler-flat frequency response of the DAC3. Note that the frequency response measures - 0.015 dB at 10 Hz and -0.031 dB at 40 kHz. The extreme low-frequency extension of the DAC3 virtually eliminates the phase shifts that often occur at low frequencies (near 20 Hz). Bass is rendered in the proper timing relative to high-frequency content.

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Audio Precision

DAC3 - Differential Phase

Fs = 96 k Hz

DAC3 - Differ ential Phase.at 27

ColorSweep Trace Line Style Thick

Data Axis Comment Cursor1 Cursor2

1 1

Green Solid 4

Anlr.Phase Left Left t o Right *+0.24 deg *+0.42 deg

1 Red Solid 4 Anlr.Phase Left Right to Left

-0.25 deg -0.43 deg

-1

-0.8

-0.6

-0.4

-0.2

+0.2

+0.4

+0.6

+0.8

+0.24

+0.42

d e g

2.5k

45k 5k

7.5k

10k 12.5k 15k

17.5k 20k

22.5k

25k 27.5k

30k 32.5k 35k

37.5k

40k 42.5k

20.2555k

40.0511k

dx=19.7956 kHz

dy=+0.18 deg

Graph 6 - Differential P hase

This plot demonstrates the inter-channel phase accuracy of the DAC3. This is a highly expanded scale, spanning only +/- 1 degree at 45 kHz. From this plot, the inter-channel phase accuracy is calculated to be +/- 0.25 degrees at 20 kHz, and +/- 0.43 degrees at 40 kHz.

The phase accuracy of the DAC3 approaches the phase accuracy of the Audio Precision AP2722 test set. For this reason, the phase error in the AP must be subtracted from the measurement. The green trace assigns the left channel to channel 1 of the AP, and the right channel to channel 2 of the AP. The red trace reverses the inputs. The two traces must be averaged to remove the phase errors of the AP test set.

DAC3 converters are phase-accurate between boxes. Three DAC3 converters can be used as a group to form a phase-accurate 5.1 surround system. Four DAC3 converters can be combined to form a 7.1 system. The phase accuracy between a ny two channels will match the typical phase accuracy shown above.

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Graph 7 - THD and THD+N vs. Amplitude (Balanced Outputs)

Audio Pr ecision

DAC3 - THD an d THD+N vs. Amplitude, 1 kH z, 0 dBFS = 24 dBu

DAC3 - THD and THD+N vs Amplitude.at27

ColorSweep Trace Line Sty le

Thick Data

Axis Comment

1 Red Solid

4 Distortion. Ch. 1 Har m Sum1 Left THD

1 2 Black Solid 4

Anlr .THD+N Ampl Right

THD+N

-130

-90

-125

-120

-115

-110

-105

-100

-95

-130

-90

-125

-120

-115

-110

-105

-100

-95

-30 -0 -28 -26 -24

-22

-20 -18 -16 -14 -12 -10 -8 -6

-4

-2

dBFS

These plots demonstrate the very low harmonic distortion produced by the DAC3 with digital input signal levels rang ing from -30 dBFS to 0 dBFS. These plots show that THD should never reach the threshold of hearing in most listening environments. This is proof that the DAC3 is virtually uncolored by any traces of harmonic distortion.

The black curve is a plot of THD+N, band limited to 22 kHz, and was acquired using the analog analyzer in the AP2722 test set. The re d curve is a plot of THD (harmonic distortion only) and was acquired using the analog notch filter, A/D converter, and digital harmonic distortion analyzer in the AP2722 test set. This THD curve includes a ll harmonics falling below 32 kHz. The steps near -3 dBFS and -9 dBFS are due to the auto ranging of the AP2722 tes t set and are an indication that the THD performance of the DAC3 is very close to the measurement limits of the AP2722.

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Graph 8 - THD and THD+N vs. Amplitude (Unbalanced Outputs)

Audio Pr ecision

DAC3 - THD an d THD+N vs. Amplitude, 1 kH z, 0 dBFS = 2Vrms

Unbalanced Outputs

DAC3 - THD and THD+N vs Amplitude Unbalanced. at27

ColorSweep Trace Line Sty le

Thick Data

Axis Comment

1 Red Solid

4 Distortion. Ch. 1 Har m Sum1 Left THD Only

1 2 Black Solid 4

Anlr .THD+N Ampl Right

THD+N

-130

-90

-125

-120

-115

-110

-105

-100

-95

-130

-90

-125

-120

-115

-110

-105

-100

-95

-30 -0 -28 -26 -24

-22

-20 -18 -16 -14 -12 -10 -8 -6

-4

-2

dBFS

This plot shows the THD and THD+N performance of the unbalanced outputs.

Note that the THD performance of the unbalanced outputs a pproaches that of the balanced outputs. The THD+N levels are slightly higher on the unbalanced outputs. This is due to the relatively low (2 Vrms) sign al levels us ed on unbalanced interfaces. This noise difference highlig hts one advantage of professional-level balanced interconnects.

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Graph 9 - THD vs. Amplitude - Balanced vs. Unbalanced Outputs

Audio Pr ecision

DAC3 - THD vs. Am plit ude, 1 kHz, 0 dBFS = 2V rms

Balanced vs. Unbalanced Outputs

DAC3 - T HD vs Amplitude Balanc ed vs Unbalanced.at27

ColorSweep

Trace Line Style Thick

Data Axi s Comment Source 2

3 Black

Solid 4 Distortion.Ch.1 Harm Sum1 Right THD Balanced Output : 2.00000 = S wr .Ch. A Input

2 Red Solid 4 Distortion.Ch.1 Harm Sum1 Left THD Unbalanced Output

: 4.00000 = S wr .Ch. A Input

-140

-100

-135

-130

-125

-120

-115

-110

-105

-140

-100

-135

-130

-125

-120

-115

-110

-105

-30

-0

-28 -26

-24

-22 -20 -18 -16 -14 -12 -10 -8 -6 -4

-2

dBFS

This plot demonstrates that the balanced and unbalanced analog outputs on the DAC3 have very similar THD performance. The unbalanced outputs (red curve) closely match the performance of the balanced outputs (black curve) at high signal levels. T he se paration between the curves at signal levels be low -10 dBFS is due to the improved SNR provided by the balanced interfa ces. At 0 dBFS, the balanced interfaces were calibrated to +24 dBu (12.28 Vrms) while the unbalanced interfaces were calibrated to +8.24 dBu (2 Vrms). The higher signal levels used with the balanced interfaces make it easier to achieve high signal to noise ratios. This is just one reason why Benchmark recommends balanced interconnects.

The DAC3 includes differential amplifiers that remove common-mode THD from the balanced outputs of the SABRE-PRO converters. These differential amplifiers give the unbalanced outputs the ability to approach the THD performance of the balanced outputs. Please note that the differential amplifiers also el iminate common-mode distortion on the balanced outputs.

Top-quality D/A conversion chips (such as the ES9028PRO) are equipped with balanced outputs. These balanced outputs allow a significant reduction of THD if they are followed by precision differential amplifiers. Conversion chips tend to produce significant common-mode distortion products that should be removed by a differential amplifier. The DAC3 includes precision differential amplifiers following the outputs of the ES9028PRO. Many competing products omit these differential amplifiers. The omission of the differential a mplifiers would make the THD much higher on the unbalanced outputs. The differential amplifiers also improve the system performance when the balanced outputs are driving balanced inputs that are not precisely trimmed.

The THD measurements shown above confirm the effectiveness of the differential amplifiers in the DAC3. Additional confirmation can be obtained by measuring the THD of either side of the balanced outputs relative to ground.

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Audio Precision

DAC3 - Headphone Ampl ifier - THD+N vs Pow er a t 1 KHZ (w/20 kHz LPF unweighted)

Headphone outputs into 300 Oh m s, both chann els driven

DAC3 - HE ADPHONE - T HD+ N vs Power - 300 O hm Load.at27

ColorSweep

Trace Line Style Thick Data Axis Comment Cursor1 Cursor2

1 1

Red Solid

4 Anlr. THD+N Rat io

Left *-80. 976 dB

*-102.254 dB

-120

-110

-100

-90

-80

-70

-60

-50

-40

-30

-20

-10

-80.976

-102.254

10u 300m 20u 50u 100u 200u 500u 1m 2m 5m 10m 20m 50m 100m

10.11u 278.8m

Graph 10 - Headphone Amplifier into 300 Ohms – THD+N versus Power

This plot shows the THD+N performance of the headphone outputs when driving a typical 300-Ohm load. Note that the THD+N performance of the headphone outputs approaches that of the ba lanced outputs (-110 dB at 20 mW). Benchmark's HPA2™ headphone amplifier can cleanly deliver 21.5 dBu (9.2 Vrms) into a 300-Ohm load.

This graph shows that the HPA2™ has the voltage required to drive high-impedance headphones. The following graph shows that the HPA2™ has the power required to drive low-impedance headphones. In either case, the near 0-Ohm output impedance provides outstanding control and damping of the headphone drivers.

The HPA2™ includes 3 jumper-programmable gain ranges that can be configured to match the voltage sensitivity of your favorite headphones. The gain-range settings do not change the output impedance or the THD of the headphone amplifier.

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Graph 11 - Headphone Amplifier into 30 Ohms – THD+N versus Power

Audio Precision

DAC3 - Headphone Ampl ifier - THD+N vs Pow er a t 1 KHZ (w/20 kHz LPF unweighted)

Headphone outputs into 30 Oh m s, both chann els driven

DAC3 - HE ADPHONE - T HD+ N vs Power - 30 O hm Load.at27

ColorSweep Trace

Line Style Thick Data Axis Comment

Cursor1 Cursor2

1 1 Red Solid 4 Anlr. THD+N Rat io Left *-80. 867 dB *-87.006 dB

-120

-110

-100

-90

-80

-70

-60

-50

-40

-30

-20

-10

-80.867

-87.006

100u 3 200u 500u 1m 2m 5m 10m

20m 50m 100m 200m 500m

1 2

1.253

dx=1.253 W

dy=-6.139 dB

This plot shows the THD+N performance of the headphone outputs under a very heavy load (30Ohms). Note that the THD+N performance of the headphone outputs still approaches that of the balanced outputs (-110 dB at 20 mW).

This graph demonstrate that Benchmark's HPA2™ headphone amplifier can cleanly deliver 1.25 W into 30 Ohms, both channels driven.

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Page 58

Audio Precision

DAC3 - THD+N VS FRE Q AT 0 dBF S, 24 dBu (w/80 kH z LPF unweighted)

Balanced Outputs

DA C3 - THD+N vs FREQ UE NCY 80kHZ.at 27

ColorSweep Trace Line Style Thick

Data Axis Comment

1 1 Green

Solid 4 Anlr.THD+N Ratio Left

Left Channel

1 2 Red

Solid 4 Anlr.THD+N Ratio Left Right Channel

-130

-90

-125

-120

-115

-110

-105

-100

-95

20k 50

100 200

500 1k

2k 5k

10k

Graph 12 - THD+N vs. Frequency 80 kHz

The analog output stages on the DAC3 have high sle w rates and are capable of maintaining low THD levels at high frequencies even when driven to 0 dBFS. Note that the THD+N remains very low at 20 kHz, even when operating at maximum output levels.

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Graph 13 - THD and THD+N vs. Frequency

Audio Pr ecision

DAC3 - THD an d THD+N vs. Frequen cy, 1 kH z, 0 dBFS , 24 dBu

Digital In to Balanced Analog Out

DAC3 - T HD and THD+N vs Frequency Digital t o Analog.at27

ColorSweep

Trace Line Style Thick

Data Axi s Comment Cursor1 Cursor2

1 Black

Solid 4 Anlr.THD+N Ampl Left THD+N, 80 kHz LPF-109.838 dBr A -107.584 dBr A

2 Red Solid 4 Distortion.Ch.1 Harm Sum1 Right THD, 48 kHz LP F

*-117.274 dBr *-111.274 dBr

-140

-100

-135

-130

-125

-120

-115

-110

-105

-117.274

-111.274

-140

-100

-135

-130

-125

-120

-115

-110

-105

20k

50 100

200 500 1k 2k 5k 10k

1.00238k

10.0237k

TTT

These plots demonstrate that the harmonic distortion of the DAC3 is lower than the THD+N numbers would suggest. This black curve is a plot of THD+N. The red curve is a plot of THD only. Below about 10 kHz, the THD is so low that the THD+N measurement is dominated by noise.

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Audio Precision

DAC3 - THD+N vs Sa m ple Ra te, 1 kH z at 0 dBFS ( w/20 kHz LPF unweigh ted)

DAC3 - THD+N vs Sample Rate.at27

ColorSweep Trace Line Style Thick

Data Axis Comment Cursor1 Cursor2

1 Green Solid

4 Anlr. THD+N Rat io Left Left Channel

-113.043 dB -113.041 dB

1 2

Red Solid 4 Anlr.THD+N Ratio Left Right Channel *-113.209 dB *-113. 208 dB

-130

-90

-125

-120

-115

-110

-105

-100

-95

-113.209

-113.208

40k

200k 60k

80k

100k 120k

140k 160k 180k

28k

210k

dy=+0.001 dB

Graph 14 - THD+N versus Sample Rate

The THD+N performance of the DAC3 is identical at all Sample R ates.

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Page 61

Graph 15 - Jitter Tolerance

Audio Precision

DAC3 - INTERFACE JITTER TOLERANCE - Di st orti on vs Jitter

3.456 kH z Test Tone a t 0 dBFS, THD+N 22 t o 22 kHz BW

DAC3 - J ITTER TO L E RANCE.at27

ColorSweep Trace Line Sty le Thick Data Axis Comment

1 1 Red Solid 4 Anlr.THD+N Rat io Left 1 2 Black Solid 4 Dio.Interface Jitter Right

10m

20m

50m

100m

200m

500m

-120

-110

-100

-90

-80

-70

-60

-50

-40

-30

-20

-10

100 90k 200 500 1k 2k 5k 10k 20k 50k

The Audio Engineering Society (AES) has created a jitter tolerance template for testing digital audio devices. The black curve shows the AES jitter tolerance template (se e right-hand vertical axis). Induced jitter approaches 5 UI at 200 Hz, and is reduced to 0.125 UI above 8 kHz. The red trace shows the THD+N of the DAC3 (left-hand vertical axis) while being driven with the jitter shown on the black curve. Over the entire range of the AES jitter tolerance test, the THD+N performance of the DAC3 is unchanged. The DAC3 easily passes the AES jitter tolerance test, and it does so without any performance degradation.

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Audio Precision

DAC3 - INTERFACE JITTER TOLERAN CE FFT

10 kHz Test Ton e at 0 dBFS, AES Ji tter Tolera nce Sweep

DAC3 - JITTER TOLERANCE FFT.at27

Color

Sweep Trace

Line Style

Thick Data Axis Comment Source 2

1 2 Blue Solid 1

Fft.Ch.1 Ampl

Left : 100.000 Hz=Dio.J itter Freq

2 Cyan

Solid 1 Fft.Ch.1 Ampl Left : 125.893 Hz = Dio.Jit ter F r eq

2 Green Solid 1 Fft.Ch.1 Ampl Left

: 158.489 Hz=Dio.Jitter F r eq

4 2 Yellow Solid 1 Fft.Ch.1 Ampl

Left : 199.526 Hz=Dio.J itter Freq

5 2 Red

Solid 1 Fft.Ch.1 Ampl Left : 251.189 Hz = Dio.Jit ter F r eq

6 2

Magenta Solid 1

Fft.Ch.1 Ampl Left : 316. 228 Hz=Dio.Jitter F r eq 7 2 Blue Solid 1 Fft.Ch.1 Ampl Left : 398.107 Hz=Dio.Jitter F r eq 8 2 Cyan Solid

1 Fft.Ch.1 Ampl Left : 501.187 Hz=Dio.J itter Freq 9 2 Green Solid 1 Fft.Ch.1 Ampl Left : 630.957 Hz=Dio.Jitt er Freq 10 2 Yellow Solid 1

Fft.Ch.1 Ampl Left : 794. 328 Hz=Dio.Jitter F r eq

11 2 Red Solid

1 Fft.Ch.1 Ampl Left : 1.00000 kHz=Dio.Jitt er F r eq 12 2 Magenta Solid 1 Fft.Ch.1 Ampl

Left : 1.25893 kHz=Dio.Jitter Freq

13 2 Blue Solid

1 Fft.Ch.1 Ampl Left : 1.58489 kHz=Dio.Jitt er F r eq 14 2 Cya n Solid

1 Fft.Ch.1 Ampl Left

: 1.99526 k Hz=Dio.Jitter F r eq 15 2 Green Solid 1 Fft.Ch.1 Ampl Left : 2.51189 kHz=Dio. J itter Freq 16 2 Yellow Solid 1 Fft.Ch.1 Ampl

Left : 3.16228 kHz=Dio.Jitter Freq 17 2 Red Solid 1 Fft.Ch.1 Ampl Left : 3.98107 kHz=Dio.Jitt er Freq 18 2 Magenta Solid 1 Fft.Ch.1 Ampl

Left : 5.01187 kHz=Dio.Jitter Freq 19 2 Blue Solid 1

Fft.Ch.1 Ampl Left : 6. 30957 k Hz=Dio.Jitter F req 20 2 Cya n Solid 1 Fft.Ch.1 Ampl Left : 7.94328 kHz=Dio.Jitter Freq 21 2 Green Solid 1

Fft.Ch.1 Ampl Left : 10. 0000 k Hz=Dio.Jitter F req 22 2 Yellow Solid 1 Fft.Ch.1 Ampl Left : 12.5893 kHz=Dio.Jitter Fr eq 23 2 Red Solid 1 Fft.Ch.1 Ampl Left : 15.8489 kHz=Dio.Jitt er Freq 24 2 Magenta Solid 1 Fft.Ch.1 Ampl Left : 19.9526 k Hz=Dio.Jitter Fr eq 25

2 Blue Solid 1 Fft.Ch.1 Ampl Left : 25.1189 k Hz=Dio.Jitter Fr eq

26 2 Cya n Solid 1 Fft.Ch.1 Ampl

Left : 31.6228 kHz=Dio.Jitter Freq

27 2 Green Solid

1 Fft.Ch.1 Ampl Left : 39.8107 kHz=Dio.Jitt er F r eq 28 2 Yellow Solid 1 Fft.Ch.1 Ampl Left : 50.1187 kHz=Dio.Jitter Fr eq 29 2 Red Solid 1 Fft.Ch.1 Ampl Left : 63.0957 kHz=Dio.Jitt er Freq 30

2 Magenta Solid 1 Fft.Ch.1 Ampl Left

: 79.4328 k Hz=Dio.Jitter F r eq

31 2 Blue Solid 1 Fft.Ch.1 Ampl Left : 100.000 k Hz=Dio.Jitter F r eq

-160

-140

-120

-100

-80

-60

-40

-20

32k

2k 4k

10k

12k

14k

16k

18k

20k

22k

24k

26k

28k

30k

Graph 16 - Jitter Tolerance FFT

This figure shows a series of FFTs that were acquired while running the AES jitter tolerance test. This is the ultimate jitter-immunity test.

Note that none of the 31 FFTs show any signs of jitter-induced sidebands. Note that the plots are identical to the plots shown in Graph 3.

The DAC3 shows no change in performance when the AES jitter tolerance test is applied to the digital inputs. No jitter-induced sidebands are visible anywhere in this measurement.

Please note that the 10 kHz fundamental needed to be notched out in order to make this very highresolution measur ement. If the fundamental was not notched out, the spur iou s tones, produced by the A/D converter in the AP2722 test set, would have obscured the virtually-perfect result s.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 62

Page 63

Audio Precision

11/02/ 16 09:51:21

DAC3 - 11K 12K IMD

DAC3 - IMD 11K 12K.at27

Color

Sweep Trace Line Style Thick Data

Axis Comment Cursor1 Cursor2

1 1 Green Solid

4 Fft.Ch.1 Ampl Left

Left Channel -131.652 dB r A -125.861 dBr A

1 2 Red Solid

4 Fft.Ch.2 Ampl Right

Right Channel *-131.548 dBr *-124.799 dBr

-160

-150

-140

-130

-120

-110

-100

-90

-80

-70

-60

-50

-40

-30

-20

-10

-131.548

-124.799

-160

-150

-140

-130

-120

-110

-100

-90

-80

-70

-60

-50

-40

-30

-20

-10

20k 2k

6k 8k

10k 12k

14k

16k

18k

1.01761k

10.0196k

dy=+6.749 dB

Graph 17 - IMD 11k 12K

This plot demonstrates that the DAC3 has very low IMD distortion. The 1 kHz difference frequency measures -131 dB, and the 10 kHz and 13 kHz products measure about -125 dB. The actual IMD may be better. The results shown are partially limited by the performance of the AP2722 test set.

All IMD distortion products should be well belo w audib le lev els.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 63

Page 64

Specifications

Audio Performance

Fs = 44.1 to 96 kHz, 20 to 20 kHz BW, 1 kHz test tone, 0 dBFS = +24 dBu (unless noted)

SNR – A-Weighted, 0 dBFS = +27.5 dBu

128 dB

SNR – Unweighted, 0 dBFS = +27.5 dBu

126 dB

Dynamic Range - A-Weighted at maximum volume

128 dB

Dynamic Range - Unweighted at maximum volume

126 dB

THD+N, 1 kHz at 0 dBFS

-113 dBFS, -113 dB, 0.00022%

THD+N, 1 kHz at -1 dBFS

-114 dBFS, -113 dB, 0.00022%

THD+N, 1 kHz at –3 dBFS

-119 dBFS, -116 dB, 0.00016%

THD+N, 20 to 20 kHz sweep at –3 dBFS

-113 dBFS, -110 dB, 0.00032%

Frequency Response at Fs=192 kHz

+0 dB, -0.015 dB (20 to 20 kHz)

-0.15 dB at 80 kHz

Frequency Response at Fs=48 kHz

+0 dB, -0.015 dB (20 to 20 kHz)

-0.005 dB at 20 kHz

Crosstalk

-116 dB at 20 kHz

-137 dB at 20 Hz

Maximum Amplitude of Jitter Induced Sidebands (10 kHz)

< -144 dB Maximum Amplitude of Spurious Tones with 0 dBFS test signal

< -138 dB Maximum Amplitude of Idle Tones

< -147 dB

Maximum Amplitude of AC line related Hum & Noise

< -133 dB

Inter-channel Differential Phase (Stereo Pair – any sample rate)

+/- 0.25 degrees at 20 kHz

Inter-channel Differential Phase (Between DAC3 Units Fs<110 kHz) Any sample rate.

+/- 0.25 degrees at 20 kHz Maximum Lock Time after Fs change

6 ms

Soft Mute Ramp Up/Down Time

9.6 ms

Mute on Receive Error

Yes

Mute on Lock Error

Yes

Mute on Idle Channel

50/15 us De-Emphasis En a b le

Automatic in Consumer Mode

De-Emphasis Method

Digital IIR

De-Emphasis Supported at

Fs = 32, 44.1, 48 kHz

-0.015 dB at 10 Hz

-0.005 dB at 20 kHz

-0.031 dB at 40 kHz

-0.015 dB at 10 Hz

-130 dB at 1 kHz

kHz 0 dBFS test tone, 12.75 UI sinusoidal jitter at 1

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 64

Page 65

Group Delay (Latency)

Delay – Digital Input to Analog Output (function of

sample rate)

1.36 ms at 44.1 kHz

0.47 ms at 192 kHz

Digital Audio Inputs

Number of Digital Inputs (switch selected)

5 (1 USB, 2 Optical, 2 Coaxial)

Number of Channels

Input Sample Frequency Range

28 to 210 kHz (Coaxial Inputs)

(USB Input)

Maximum Input Word Length

24 bits

Digital Input Impedance

75 Ohms (Coaxial Inputs)

DC Blocking Capacitors on Digital Inputs

Yes (Coaxial Inputs)

Transient and Over-Voltage Protection on Digital Inputs

Yes (Coaxial Inputs)

Minimum Digital Input Level

250 mVpp (Coaxial Inputs)

Jitter Tolerance

(With no Measurable Change in Performance)

>12.75 UI sine, 100 Hz to 3 kHz

>0.25 UI sine above 160 kHz

Jitter Attenuation Method

Benchmark UltraLock3™ - all inputs

1.27 ms at 48 kHz

0.90 ms at 88.2 kHz

0.82 ms at 96 kHz

0.51 ms at 176.4 kHz

28 to 96 kHz (Optical Inputs)

44.1, 48, 88.2, 96, 176.4, 192 kHz

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 65

>1.5 UI sine at 20 kHz

>1.5 UI sine at 40 kHz

>1.5 UI sine at 80 kHz

>1.5 UI sine at 90 kHz

Page 66

Balanced Analog Outputs

Number of Balanced Analog Outputs

Output Connector

Gold-Pin Neutrik™ male XLR

Output Impedance

60 Ohms (Attenuator off)

135 Ohms (Attenuator = 20 dB)

Analog Output Clip Point

+29 dBu

Factory Set Bypass Level (with 0 dBFS digital input)

+24 dBu (Attenuator = 0 dB)

Volume Control Range (with 0 dBFS digita l in p ut)

Off to +27.5 dBu (Attenuator off)

Off to +7.5 dBu (Attenuator = 20 dB)

Output Level Variation with Sample Rate

< +/- 0.006 dB

Unbalanced Analog Outputs

Number of Unbalanced Analog Outputs

Output Connector

RCA

Output Impedance

30 Ohms

Analog Output Clip Point

+13.5 dBu (3.7 Vrms)

Factory-Set Home Theater Bypass Output Level (with 0 dBFS digital input)

+8.2 dBu (2 Vrms) Output Level Range (with 0 dBFS digital input )

Off to +11.7 dBu (3 Vrms)

Output Level Variation with Sample Rate

< +/- 0.006 dB

HPA2TM Headphone Outputs

Number of Headphone Outputs

Output Connectors

¼” TRS with switch on left-hand jack

Output Impedance

< 0.11 Ohms

Output Level Control

Stereo Control on Front Panel

Output Level Range (with 0 dBFS digital input )

Off to +21.5 dBu (9.2 Vrms)

Output Power

1.25 W into 30 Ohms

Maximum Output Current

250 mA

Overload Protection (independent per channel)

Current limited at 300 mA, Thermal

Bandwidth

> 500 kHz, -0.35 dB at 200 kHz

THD+N at 20 mW

-108 dB (0.0004%) into 300 Ohms,

-100 dB (0.0010%) into 30 Ohms

425 Ohms (Attenuator = 10 dB)

Off to +17.5 dBu (Attenuator = 10 dB)

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 66

Page 67

Unbalanced Analog Inputs

Number of Unbalanced Analog Inputs

Input Connector

RCA

Input Impedance

20 K Ohms

Analog Input Clip Point

+18.5 dBu (6.5 Vrms)

Input Sensitivity

+8.2 dBu (2 Vrms)

Bandwidth

> 500 kHz, -0.6 dB at 200 kHz

THD+N (Analog to Analog, 2 Vrms in, +24 dBu out)

-110 dB (0.00032%)

AC Power Requirements

Nominal Operating Range

100 – 240 VAC, 50 - 60 Hz

Min/Max Operating range

90 – 260 VAC, 47 - 63 Hz

Power

< 0.5 Watts Standby 15 Watts Maximum

Fuses (2 required)

5x20 mm, 0.5 A 250 V Slo-Blo® Type

Dimensions

Form Factor

½ Rack Wide, 1 RU High

Depth behind front panel

8.5” (216 mm)

Overa ll depth including c onnectors

9.33” (237 mm)

Width

9.5” (249 mm)

Height

1.725” (44.5 mm)

Weight

DAC3 only

3 lb.

DAC3 with access ori es an d manual

4 lb.

Shipp ing weight

7 lb.

Status Display

Indicators - Type and Location

16 LEDs on Front Panel

Selection/Status Indication

1 – Dim/Mute

4 – Sample Rate

1 - Polarity 7 – Input 1 – Bypass/Calibrated Output 2 – Word length

12 Watts Typical Program

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 67

Page 68

Regulatory Compliance

of any homogeneous Lead (Pb), Mercury (Hg), Hexavalent Chromium (Cr VI), and flame compliance could void the user's authority to operate the equipment.

FCC and RoHS Compliance Statements

FCC Notice (U.S. Only)

NOTICE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. T hese limits are designed to provide reasonable protection ag ainst harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is

connected.

• Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions:

1. This device may not cause harmful interference.

2. This device must accept any interference received including interference that may cause undesired operation.

Instructions to Users: This equipment complies with the requirements of FCC (Federal Communication Commission) equipment provided that following conditions are met:

• RCA Digital Connection s: Shielded 75-Ohm coaxial cable must be used.

NOTICE: Changes or modifications not expressly approved by the party responsible for

RoHS Compliant Information

This statement clarifies Benchmark Media Systems, Inc. product compliance with the EU’s (European Union) directive 2002/95/EC, or, RoHS (Restrictions of Hazardous Substances).

As of July 01, 2006, All Benchmark Media Systems, Inc. products placed on the European Union market are compliant (containing quantity limit weight less than or equal to 0.1% (1000 ppm)

retardant Polybrominated Biphenyls (PBB) or Po lybrominated Diphenyl Ethers (PBDE)).

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 68

Page 69

CE Certificate of Conformity

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 69

Page 70

Warranty Information

Benchmark 1-Year Warranty

The Benchmark 1-Year Warranty

Benchmark Media Systems, Inc. warrants its products to be free from defects in material and workmanship under normal use and service for a period of one year from the date of delivery.

This warranty extend s only to the original purchaser. This warranty does not apply to fuses, lamps, batteries, or any products or parts that have been subjected to misuse, neglect, accident, modification, or abnormal operating conditions.

In the event of failure of a product under this warranty, Benchmark Media Systems, Inc. will repair, at no charge, the product returned to its factory. Benchmark Media Systems, Inc. may, at its option, replace the product in lieu of repair. If the failure has been caused by misuse, neglect, accident, or, abnormal operating conditions, repairs will be billed at the normal shop rate. In such cas es , an est imate will be submitted before work is s ta rted, if requested by the customer.

The foregoing warranty is in lieu of all other warranties, expressed or implied, including but not limited to any implied warranty of merchantability, fitness or adequacy for any particular purpose or use. Benchmark Media Systems, Inc. shall not be liable for any s pecial, incidental, or consequential damages, and reserves the right to change this information without notice. This limited warranty gives the consumer-owner specific legal rights, and there may also be other rights that vary from state to state.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 70

Page 71

Benchmark Extended Warranty Options

The Benchmark Extended 5-Year Warranty *

Benchmark Media Systems, Inc. optionally ex tends the standard 1-year warranty to a period of five years from the date of delivery.

*For the extended warranty to become effective, the original purchaser must register the product at the time of purchase either by way of the enclosed registration card or through the product registration section of the Benchmark Me dia Systems, Inc. website. Th is optional warranty applies only to products purchased within the US and Ca na da and is extended only to the original purchaser.

Attempts to deliberately deface, mutilate, or remove the product's label will render this warranty void. Benchmark will not honor warranties for any products disingenuously purchased on the US or Canadian markets for export. The terms of the extended warranty are subject to change without notice. For products purchased outside the US and Canada, please refer to the Extended Two 2-Year International Warranty.

The Benchmark Extended 2-Year International Warranty **

Benchmark Media Systems, Inc. optionally ex tends the standard 1-year warranty to a period of two years from the date of delivery.

**For the extended warranty to become effective, the original purchaser must register the product at the time of purchase either by way of the enclosed registration card or through the product registration section of the Benchmark Me dia Systems, Inc. website. This optional warranty applies only to products purchased outside the US and Canada and is extended only to the original purchaser.

Attempts to deliberately deface, mutilate, or remove the product's label will render this warranty void. Benchmark will not honor warranties for any products disingenuously purchased on the US or Canadian markets for export. The terms of the extended warranty are subject to change without notice. For products purchased in within the US and Canada, plea se refer to the Extended Five 5-Year Warranty.

Notes on Warranty Repairs

An RMA (return merchandise authorization) number, issued by our Customer Service Department, is required when sending products for repair.

They must be shipped to Benchmark Media Systems prepaid and prefe rably in the ir orig inal shipping carton with the RMA number clearly visible o n the exterior of the packaging. A letter should be included giving full details of the difficulty.

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 71

Page 72

Revision C - 09/18/2018

Benchmark Media Systems, Inc.

203 East Hampton Place, STE 2

Syracuse, NY 13206

USA

PHONE: +1-315-437-6300

FAX: +1-315-437-8119

benchmarkmedia.com

Instruction Manual for DAC3 HGC and DAC3 L with 2.X Firmware Page 72