Joemeek oneQ2 User Manual

TM

2

one

QQ

2

-4

0

-10

2:1

+4

+10 -15

+oo

-20

dBu

COMPRESS SLOPE ATTACK RELEASE

MIC

10

5:1

50

5

10:11:1

100

1

ms

PREAMP

OPTICAL COMPRESSOR

3:1

0.3

sec

+5

1

+3 +16

320.1

30

25

20

/

O

+8

dB

MAKE UP

GAIN

35(0)

dB

GAIN

+12

+200

605018

POSTEQCOMP

40

45

HPFLINEPAD IRON48VINSTR

GR

-3

-5

-7

VU

M E E K

MASTER STUDIO

CHANNEL

0

+3

-10

-20

ON

LINK

PEAK

METER

GR

PRE

5

3

1 9

EFFECT

0

-6

-9 +9

-12

dB

LF (80Hz)

oneQ2oneQ2

Master Studio Channel

7

82

ON

0

dB

HF (14kHz)

OUTPUT

PEAK

DE-

-6

ESS

-10

-15

-20

-30

-oo
dB

GAIN

GAIN

+3-3

+6

+15-15

ON

FSD

0

+4

+10

J O E M E E K

EXT
CLK

OO

ENHANCER

64

3

7

1

82

100

.8

+3-3

+6

250

160

+15-15

120Hz

RANGE

5

kHz

500

FREQ

5

6

3

8

9

1 9

16

Q

750

1k

-6

-9

-12 -12+12

2k120

Hz dB

64

7

82

100

ON

MEEQUALIZER

0

+3-3

+6

+9

+15-15

LM

1

DE-ESSER

6

5

3

2

kHz

TUNE

3

4

2

5.5

8

10.6

kHz

FREQ

5

64

8

3

1 9

10

-9

LISTEN

100

DE-ESS

0

+3-3

+6

-6

+9

-9 +9

+15-15

dB

HM

7kHz

User Guide

joemeek.com

TM

Designed in England and

assembled in

to strict specifications,

Joemeek is manufactured under the direction

of and distributed exclusively by:

Joemeek

China

PMI AUDIO GROUP

USA: 1845 W. 169th Street

Gardena, CA 90247

toll free: 877-563-6335

fax: [phone]

UK: Unit 4 Minerva Court

Woodland Industrial Estate

Torquay, TQ2 7BD

tel: [phone]

fax: [phone]

email: [e-mail]

www.joemeek.com

Written by Allan Bradford, MSc

is a registered trademark of PMI Audio Group

JOEMEEK

®

Important Safety Information

Important Safety Instructions

CAUTION

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE
PERSONNEL.

The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude
to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in
the literature accompanying the appliance.

WARNING: TO AVOID FIRE OR ELECTRIC

SHOCK HAZARD, DO NOT EXPOSE THIS

APPARATUS TO WATER, RAIN OR MOISTURE.

NOTE — This apparatus does not exceed the Class
A/Class B (whichever is applicable) limits for radio noise
emissions from digital apparatus as set out in the radio
interference regulations of the Canadian Department of
Communications.

.

ATTENTION — Le présent appareil numérique n’émet
pas de bruits radioélectriques dépassant las limites
applicables aux appareils numériques de class A/de class
B (selon le cas) prescrites dans le réglement sur le
brouillage radioélectrique édicté par les ministere des
communications du Canada.

These limits are designed to provide reasonable
protection against harmful interference in a
commercial/residential installation respectively. This
equipment generates, uses, and can radiate radio
frequency energy and, if not installed and used in
accordance with the instruction manual, may cause
harmful interference to radio communications. There is
no guarantee that interference will not occur in a particular
installation. If this equipment does cause interference to
radio or television equipment reception, which can be
determined by turning the equipment off and on, the user
is encouraged to try to correct the interference by any
combination of the following measures: (1) Relocate or
reorient the receiving antenna (2) Increase the separation
between the equipment and the receiver (3) Plug the
equipment into an outlet on a circuit different from that to
which the receiver is connected (4) Consult your dealer or
experienced radio/television technician for additional
assistance.

CAUTION — Changes or modifications to this equipment
not expressly approved by the party responsible for
compliance could void the user's authority to operate this
equipment.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water. Do not expose to

drips or splashes. Do not place any objects filled with
liquids, such as vases, on the apparatus.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Do not install this

apparatus in a confined space such as a book case or
similar unit. Install only in racks designed for the purpose
and in accordance with manufacturers’ instructions.

8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding-type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.

11. Only use attachments and accessories specified by
the manufacturer.

12. Use only with a cart, stand, tripod, bracket, or table
specified by the manufacturer, or sold with the apparatus.
When a cart is used, use caution when moving the
cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when
unused for long periods of time.

14. Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed to
rain or moisture, does not operate normally, or has been
dropped.

15. Apparatus designed with Class-I construction must be
connected to a mains socket outlet with a protective
earthing connection (the third grounding prong).

16. This apparatus may be equipped with a single-pole,
rocker-style AC mains power switch. If so this switch is
located on the front panel and should remain readily
accessible to the user.

17. The manufacturer reserves the right to change the
technical specification of the product without prior notice.

3

Statement of RoHS Compliance

Statement of WEEE Policy

PMI Audio Group manufactures complete electronic
products which are covered by the European Union’s
“Removal of Hazardous Substances” directive
2002/95/EC (RoHS). This directive seeks to eliminate
toxic substances from the manufacturing process, such
that when equipment is disposed of at the end of its life
cycle, the materials it contains do not contaminate the
environment and pose health risks. Banned substances
are lead, mercury, cadmium, hexavalent chromium,
polybrominated biphenyls (PBB) and poly-brominated
diphenyl ethers (PBDE). Lead is used together with tin in
solder connections to reduce the melting point of solder.
Lead-free solder requires higher soldering temperatures
which in turn places greater thermal stress on
components.

RoHS

COMPLIANT

PMI Audio Group takes seriously its obligations under the
RoHS directive and insists that its factories use only
components that are certified RoHS compliant, as well as
lead-free solder. In a very few cases the necessary
components may not yet be available to the world market
but we work continuously to eliminate any such
exceptions at the earliest opportunity. Our printed Circuit
Boards (PCB’s) and all soldered joints have been lead­free since 2005.

Pb

PMI Audio Group manufactures many complete
electronic products which are covered by the European
Union’s “Waste Electric and Electronic Equipment”
directive 2002/96/EC (WEEE). This directive seeks to
ensure that waste electric and electronic equipment is
disposed of in an environmentally responsible manner, at
the end of its life cycle. PMI Audio Group takes seriously
its obligations under this directive to take back WEEE­affected products and, from 13th August 2005, will mark
all such products with the crossed-out wheeled bin
symbol.

Business to Business products: PMI Audio Group will
cost-neutrally take back WEEE-affected electric and
electronic equipment in this category, from 1st January

2006. PMI Audio Group will work with disposal and
recycling partners working within the EU. The waste
electric and electronic equipment can then be turned over
to a disposal and recycling companies in the countries
concerned.

Business to Customer products: emerging electric and
electronic equipment will be disposed of by local
authorities' collection systems.

Dual Use products: this equipment will be disposed of by
local authorities' collection systems.

4

Contents JOEMEEK – the legend continues

Controls at a Glance..........................................6 & 7

Overview..............................................................5

Preamplifier.........................................................8

Insert Point..............................................................9

Meter..........................................

Compressor................................

............................9

............................9

Meequalizer.................................................. ..........11

Enhancer................................................................12

De-Esser................................................................12

Output Stage..........................................................12

Digital Interface.......................................................12

Using the oneQ2....................................................13

Getting Connected..................................................13

Using the Preamp...................................................13

Using the Compressor.............................................13

Using the Meequalizer.............................................13

Using the Enhancer.................................................14

Using the De-Esser.................................................14

Using the Output Stage...........................................14

Troubleshooting...................................................14

Joemeek studio processors represent a quantum leap in the
history of the Joemeek legend. Long regarded for its "Big
Sound", the original Joemeek gear was both revered and
reviled for its somewhat "quirky" nature. So we took the best
of what made the old Joemeek products sound great, refined
it, distilled it, added to it and repackaged it.

Properly and robustly engineered for predictable,
controllable performance, the latest generation retains the
famous Joemeek sound, with its wide, flat frequency
response extending from subsonic to ultrasonic. It also uses
genuinely low noise circuitry, with lots of headroom
(immunity to overload). Accurate calibration and metering,
together with clear panel labeling, give you complete
confidence in what's going on. Joemeek products are
founded on good solid electronic and audio engineering, and
withstand direct comparison with the very best names in
mixers and outboard gear.

The Joemeek range provides everything you need to get
your performance into your recording device.

Now the latest JOEMEEK Q2 series features an entirely new
world-class Preamp using a top-quality Cinemag
microphone transformer. In addition, low noise Burr Brown
OPA2134 audio amplifiers are used throughout the signal
path, headroom is increased and power consumption is
reduced.

Technical Specification............

............................15

Overview

The JOEMEEK oneQ2 is like having one channel of a
professional recording studio in one box. It takes
microphones or instruments, amplifies them, compresses
and equalises them ready to be recorded. Simple to use yet
extremely powerful, the oneQ2 will bring out the best in any
microphone or instrument and give the gloss of a
professional studio production to all your performances. It
can also be very useful for live work!

Think of the oneQ2 as seven separate items of
equipment:

• Preamplifier

• JOEMEEK Optical Compressor

• Meequalizer EQ

• Enhancer

• De-Esser

• Fader

• A to D Converter

About the Designer

Since 2003 the Joemeek product range has been designed
by renowned audio electronics engineer Allan Bradford. With
his background in physics and over 30 years experience with
the design of instruments, mixers, processors and amplifiers,
Allan's unique range of expertise ensures that Joemeek
remains at the forefront of music technology.

5

Controls at a Glance

one

QQ

2

-4

0

-10

2:1

+4

+10 -15

+oo

-20

dBu

COMPRESS SLOPE ATTACK RELEASE

MIC

10

5:1

50

5

10:11:1

100

1

ms

PREAMP

OPTICAL COMPRESSOR

3:1

0.3

sec

+5

1

+3 +16

320.1

30

25

20

/

O

+8

dB

MAKE UP

GAIN

35(0)

dB

GAIN

+12

+200

40

605018

POSTEQCOMP

45

GR

-3

-5

-7

-10

-20

ON

LINK

PEAK

METER

GR

HPFLINEPAD IRON48VINSTR

PRE

VU

M E E K

MASTER STUDIO

CHANNEL

48V PHANTOM POWER switch - feeds 48 volts to the
microphone XLR connectors, to power condenser microphones.

PAD switch - selects 20dB attenuation of the Mic (XLR) inputs.

LINE switch - selects the Line and INSTRument (1/4" jack)

inputs and deselects the Mic (XLR) input.

IRON switch - selects transformer coupling of the Line (1/4" jack)
inputs.

Ø switch - reverses the phase of all inputs.

MIC input - low impedance microphone input. Parallels the Rear

Panel MIC socket. Use only one of these two sockets at a time.

INSTRument input - high impedance input. Plugging in here
overrides anything plugged into the Line or Mic inputs.

PREAMP GAIN - sets the amount of audio amplification. Too little
gain and the sound will be too quiet; too much and the signal
could become distorted.

PEAK LED - lights 6dB below clipping.

HPF - "high-pass filter". Mainly for use with microphones, this

helps remove stage rumble, handling noise and "pops".

METER - analogue movement shows output signal level (VU),
preamp signal level, or the amount of Compressor gain reduction
(GR) in dB, depending on the settings of the Meter switches. The
'PRE' switch overrides both "VU" and "GR" metering.

COMPRESS - sets the level of signal (or "Threshold") above
which the signal starts to be compressed.

SLOPE - sets the compression ratio applied to signals above
threshold.

ATTACK - sets how quickly the compressor responds to peaks
above threshold.

RELEASE - sets the time taken for the signal to return to its
normal size after compression. In general, the longer the time,
the less obvious the compression.

MAKE UP GAIN - restores the level of the signal after
compression.

POST EQ switch - places the Compressor after the Meequalizer
in the signal path. (When this switch is out the Compressor is
before the Meequalizer in the signal path).

COMP LINK - for stereo work, the master oneQ2's "Compress",
"Attack" and "Release" control both master and slave oneQ2 (the
corresponding controls on the slave oneQ2 are redundant). This
avoids stereo image shifts. All other controls still operate
independently on both master and slave and must be set the
same for correct stereo balance.

Compressor ON switch - turns the compressor on.

7

82

ON

0

dB

HF (14kHz)

OUTPUT

PEAK

DE-

-6

ESS

-10

-15

-20

-30

-oo
dB

GAIN

GAIN

+3-3

+6

+15-15

ON

FSD

0

+4

+10

J O E M E E K

EXT
CLK

OO

ENHANCER

5

64

3

7

3

1

0

+3

1 9

EFFECT

0

+3-3

-6

-9 +9

-12
+15-15

dB

LF (80Hz)

82

100

.8

+6

250

160

120Hz

kHz

RANGE

500

5

6

16

FREQ

5

3

8

9

1 9

Q

750

1k

-6

-9

-12 -12+12

2k120

Hz dB

64

7

82

100

ON

MEEQUALIZER

0

+3-3

+6

+15-15

LM

1

+9

DE-ESSER

6

5

3

2

kHz

TUNE

3

4

2

5.5

8

10.6

kHz

FREQ

5

64

8

3

1 9

10

-9

LISTEN

100

DE-ESS

0

+3-3

+6

-6

+9

-9 +9

+15-15

dB

HM

7kHz

LF - controls the volume of Low Frequencies or "Bass" in the
audio spectrum. 15dB of boost or cut is available at the selected
frequency.

120Hz switch - sets the frequency at which the LF control
operates: in for 120Hz, out for 80Hz.

LM - controls the Lower Middle frequencies in the audio
spectrum. 15dB of boost or cut is available at the selected
frequency.

LM FREQ - sets the frequency at which the LM control operates,
anywhere from 200Hz to 2kHz.

HM - controls the Higher Middle frequencies in the audio
spectrum. 15dB of boost or cut is available at the selected
frequency.

HM FREQ - sets the frequency at which the HM control operates,
anywhere from 600Hz to 10kHz.

HF - controls the volume of the High Frequencies or "Treble" in
the audio spectrum. 15dB of boost or cut is available at the
selected frequency.

7kHz switch - sets the frequency at which the HF control
operates: in for 7kHz, out for 14KHz.

EQ ON switch - turns the Meequalizer on.

Enhancer EFFECT - sets the amount of enhancement.

Enhancer RANGE - sets the frequency above which

enhancement is applied.

Enhancer Q - adds a resonant peak at the frequency set by the
RANGE control.

Enhancer ON switch - turns the Enhancer on.

De-Esser TUNE - sets frequency at which gain reduction takes

place.

De-Esser LISTEN switch - assists with tuning into the "Ess"
sound by listening to the output of the side chain filter.

DE-ESS - sets the threshold above which gain reduction is
applied to the "Ess" sound. The red "De_Ess" LED lights when
gain reduction is taking place.

De-Esser ON switch - turns the De-Esser on.

OUTPUT GAIN - the volume control or "Fader" for the output of

the oneQ2.

PEAK FSD LED - lights 6dB below clipping. "FSD" means "Full
Scale Digital" and this LED also warns you if the Digital Interface
is about to be overloaded.

'EXT CLK' LED - illuminates when the oneQ2's digital output is
successfully locked to an external word clock

6

Rear Panel at a Glance

AC POWER ONLY
VOLTAGE: 115/230 V~
FREQUENCY: 50/60 Hz

POWER: 20 VA

CAUTION

ENSURE CORRECT RATINGS

WHEN REPLACING FUSES.

FUSE RATINGS:
220-240V~: T250L
100-120V~: T500L

OUTPUT

SPDIF

OUTPUT

CAUTION

RISQUE DE CHOC ELECTRIQUE

NE PAS OUVRIR

ENSURE MAINS VOLTAGE AND FUSE RATINGS

ARE CORRECT BEFORE CONNECTING MAINS POWER.

THIS APPARATUS MUST BE EARTHED BY THE POWER CORD.

NO USER SERVICEABLE PARTS -

REFER SERVICING TO QUALIFIED PERSONNEL.

OPTICAL

OUTPUT

DIGITAL INTERFACE

WORD CLOCK

INPUT OUTPUT

48k

44.1k

FREQUENCY

SAMPLE

x2

x1

CHANNEL 2

ANALOG INPUT

DIGITAL INTERFACE - outputs two channel digital audio in
S/PDIF format (optical and RCA phono connectors) and AES3
(XLR connector).

WORD CLOCK INPUT - BNC connector allows the oneQ2 to be
synchronized to an external word clock.

WORD CLOCK OUTPUT - BNC connector allows external digital
equipment to be synchronized to the oneQ2's internal word clock.

Sample Rate switches - select 44.1kHz, 48kHz, 88.2kHz or
96kHz.

Channel 2 Analog Input - allows an external balanced analogue
audio signal to be fed to (the otherwise unused) digital channel 2.

oneQ 2

MASTER STUDIO CHANNEL

J O E M E E K

www.joemeek.com

DESIGNED IN THE UK FOR PMI AUDIO

MADE IN CHINA

EN55103
EN60065

MASTER

SLAVE

+4dBu

-10dBV

CHANNEL 1

+4dBu OUTPUTOUTPUTCOMP LINK

COMPressor LINK - allows the Compressors of a pair of oneQ2s
to be linked for stereo operation, using 1/4" jack to jack cable.

COMPressor LINK switch - selects which of the pair of oneQ2s'
Compressor controls are active in stereo link mode: out for
Master, in for Slave.

+4dBu/-10dBv switch - selects the operating level of the 1/4"
jack output, either to the professional standard of +4dBu, or to

-10dBv which may be more suitable for hi-fi amplifiers and some
computer sound cards.

MIC INPUTLINE INPUTINSERTAES/EBU

7

Preamplifier

This is the all-important front end to the oneQ2. Its job is to accept
any type of microphone, instrument or other source of audio
signal, and make it loud enough. Microphones need rather a lot of
amplification, while guitars, keyboards and CD players need less.
Mics need to be connected to low impedance inputs, while
instruments prefer high impedance inputs. To ensure correct
impedance matching, the inputs are split into an XLR connector
for Mics, and 1/4" jack "Line" and "INSTRument" connectors for
everything else. A switch on the front panel decides which input
connector is active, the XLRs or the 1/4" jacks. The LED next to
the switch lights to show that the Line inputs (jacks) are selected:-

'LINE' switch out (LED off) = "Mic"
'LINE' switch in (LED on) = "Line" or "Instr"

The Mic input is transformer balanced and the Line input is
electronically balanced. Note: although the Line input is not
normally used for microphones, it can also be suitable for some
high output unbalanced microphones, such as battery powered
Electret types. The front and rear panel Mic inputs (XLR) are
balanced and wired as follows:

Pin 2: + (hot)
Pin 3: - (cold)
Pin 1: ground

The Line input (jack) is balanced and wired as follows:

Tip: + (hot)
Ring: - (cold)
Sleeve: ground

The front panel Instrument jack is balanced and wired as follows:

Tip: + (hot)
Sleeve: ground (NB: use a mono jack plug).

Note that if something is plugged into the Instrument input,
anything plugged into the rear panel Line input will be cut off.

Phantom power

Most high-quality studio mics are "Phantom Powered", which is
to say they have electronics inside them, which get their power
from the preamp. Most mics require a supply of 48 volts, so
Phantom Power is often labelled "48V". The '48V' switch turns
this power on and a red LED lights when active. When switching
the Phantom Power on, quite a loud thump may be produced, so
it is a good idea to turn down the Output Gain (or to momentarily
select the Line input), when pressing the '48V' switch.

When using dynamic or older ribbon mics, do not turn Phantom
Power on. It probably won't do any harm but it certainly won't do
any good, so leave it off! Consult the microphone handbook if you
are unsure what kind of mic you have.

The main control, labelled 'INPUT GAIN', covers a range of
microphone amplification from 18dB to 60dB. In many other
preamps the action of the "Gain" control is rather uneven, with the
40dB to 60dB range being crammed into the last 1/6th of a turn.
All Joemeek preamps use a specially designed control that
ensures smooth operation over the whole range of rotation, with
extra sensitivity in the crucial 25dB to 45 dB range.

Microphone inputs up to +4dBu can be accommodated without
distortion (+24dBu by using the 'PAD' switch).

The (0) symbol next to the 35dB mark, means unity gain, or 0dB,
for a signal in the Line input. For Line inputs the range of gain
adjustment either side of this mark, is +22dB, -19dB. For the
"INSTRument" input the gain range is 0dB to +40dB.

The microphone input transformer is permanently assigned to
the "Mic" Input. The 'IRON' switch optionally sends the "Line"
input through the transformer, to add some colouration to Line
sources.

The 'PEAK' LED lights +16dBu, which is 6dB below clipping, so
occasional brief flashes are OK but if it's on all the time you need
to back off the Input Gain!

'HPF' means "high-pass filter". Mainly for use with microphones,
this helps remove stage rumble, handling noise and "pops". The
LED lights when active.

Technical stuff

Very low noise - does it matter? Yes and no, it all depends what
you are doing - what really matters is "signal-to-noise ratio". All
electronics produce a certain amount of background noise - it's in
the nature of things. Providing there is only a relatively small
amount of noise, the signal will cover it up, or "mask" it. So
providing the signal is much bigger than the noise, you won't be
aware of the noise. In other words the "signal-to-noise ratio"
needs to be a big number, ideally such as 80dB or 90dB.

So how do you achieve that in practice? The trick is to keep the
microphone as close to the sound source as possible without
overloading it, so as to get as much signal out of it as possible.
Then you set the Gain control to give only as much gain as is
needed to get a decent level into the recorder.

Of course when there is no signal going on, you may hear the
background noise of the electronics. In that case, given the
amount of gain in a typical studio monitoring system, this noise
"floor" should ideally be in the region of -80dBu or lower, in order
for it not to be noticed.

The oneQ2 microphone preamplifier uses state-of-the-art
electronics and has an equivalent input noise of around -127dBu
(with a 150ohm input load). Despite all the hyperbolae and
obfuscation, the theoretical best possible performance with
silicon-based electronics is about -131dBu. So the preamplifier
used in the oneQ2 and all other Joemeek products approaches
this limit. To improve significantly on this would require highly
specialised electronics and probably a vat of liquid Nitrogen to
cool it!

The maximum gain available from the preamp is 60dB, in which
case the noise floor will be -67dBu. This is actually quite noisy - if
you record that noise onto a digital recorder and play it back you
will definitely hear it. In practice of course, you do not record and
play back "silence" and the rest of the mix will probably be more
than 70dB louder than this noise and will mask it completely. Even
so it is generally a good idea not to use gains greater than 40dB or
50dB and indeed, it should rarely be necessary to do so.

8

Insert Point

Compressor

This is simply an unbalanced "Send and Return" jack on the rear
panel. It allows you to patch any other pieces of equipment into
the signal path, such as an effects processor or noise gate. To use
it you will need a "Y" lead wired as follows:

Tip: send

Ring: return

Sleeve: ground

When no jack is inserted, the socket is internally linked, or
"normalled", so that the signal flows uninterrupted. Note that the
Insert Point is after the Preamp in the signal path but before the
Compressor and Meequalizer.

Meter

The analogue meter displays one of three things, depending on
the setting of the "VU Meter" switches.

In VU mode ('PRE' switch out), the Meter shows the signal level at
the XLR Output, after the 'OUTPUT GAIN' fader. Note that this is
relative to the operating level of "+4dBu", so if the meter reads "0",
then you will have +4dBu coming out of the XLR.

(In the case of the 1/4" jack output socket, if you have selected
"+4dBu" using the Rear Panel switch and the meter reads "0",
then you will have +4dBu coming out of the jack socket. If you
have selected "-10dBv" using the Rear Panel switch and the
meter reads "0", then you will have -10dBv coming out of the
output jack).

In Gain Reduction mode ('GR' switch in), the Meter changes to
read "0"dB, when no signal is present. Whenever the compressor
reduces the gain of a signal, the meter then moves "backwards"
to show the amount of gain reduction taking place at any moment.
Note that unlike many other products, in the oneQ2 this reading is
a true measurement of gain reduction, derived by comparing the
input and output of the PhotoOptical gain cell.

The third mode "PRE" allows the output of the preamp to be
metered directly, rather like the "PFL" button on a mixing console.
This is useful for adjusting the gain of the Preamp. The 'PRE'
switch overrides both "VU" and "GR" metering.

The hardest device to understand, yet one of the most useful, the
PhotoOptical Compressor is what gives Joemeek products their
unique character. Its job is to make quiet sounds louder and loud
sounds quieter, or in other words to reduce the dynamic range of
the programme material. It's a bit like manually riding the volume
control, except the compressor does it automatically, responding
far quicker and more accurately than you ever could by hand. The
compressor is applied in several ways:

1. Make Sounds Stand Out

Because compressors make loud sounds quieter, you can boost
the volume of the quiet bits without the loud bits getting even
louder. That means you can raise the average level of an
instrument or vocal in the mix, which has the effect of lifting it and
bringing it forwards. This can actually improve vocals for
example, bringing them out in front of a mix, making them sound
denser, more even, and more confident!

2. Crank Up The Volume

Raising the average volume of whole mixes means they can be
heard in noisy environments, such as vehicles and factories.
Boosting the average level is what makes radio stations sound
LOUD and the same technique is used on TV commercials too,
which is why they always seem annoyingly louder than the movie
you were trying to watch!

3. Protection

Fast response times are generally used to control brief transients.
In other words if an occasional peak sticks its head above a
maximum permitted level, the compressor clobbers it; this is
known as limiting and a compressor designed solely for this
purpose is known as a Limiter. Limiters are primarily used to
protect recorders and monitor systems from overload, radio
transmitters from overmodulation, etc. The Joemeek compressor
is not primarily intended for this purpose as the Attack is not really
fast enough to satisfy radio station requirements, although it is
generally good enough to protect recorders and monitors, where
the effect of transients is less critical. Normally you should not
hear a limiter operating but if it is driven hard constantly, it can
render a mix somewhat flat and lifeless.

4. Accommodation

The dynamic range of the human ear is phenomenal, extending
from the threshold of hearing (eg: a pin dropping onto soft carpet)
to threshold of pain (eg: standing next to a jet aircraft) - some
120dBA in all. By contrast, vinyl, cassette tape and radio
broadcasts all have a dynamic range of about half that. Since the
advent of the CD, the dynamic range of the medium is far less of
an issue and compressors are used more to give a certain "feel"
to a production. AM and FM radio however, is still very much
compressed to fit its restricted dynamic range.

5. Modification

A compressor can change the dynamics, or "envelope" of the
track and it is here that the Joemeek Compressor excels!

9

Compressor (Cont'd)

Types of Compressor

Most compressors work in essentially the same way: a volume­controlling element or "gain cell" is inserted into the audio signal
path. The level of the signal at any given moment is measured
and that information is used to control the gain cell. So if the signal
gets bigger, the volume is turned down. Various types of gain cell
in common use include FETs, valves (tubes), light-dependent­resistors (photoelectric), digital potentiometers and voltage­controlled-amplifiers, better known as VCAs.

The oneQ2 Compressor is a unique recreation of the sort of
photoelectric compressor used by record producer Joe Meek in
the 1960's. Using modern components for consistency and
reliability, it nonetheless reproduces faithfully the same punchy
sound that was so characteristic of the pop records of that time.

Compression Ratio

What?? OK, it's simpler than it sounds. If the input gets 10dB
louder but the output only increases by 5dB then the compression
ratio is "2 to 1". If the input goes up 10dB but the output only goes
up 1dB, then the compression ratio is "10 to 1". In a theoretically
ideal compressor, this ratio is the same for any size of signal
above the threshold but for that to be true, the gain cell and its
control circuitry must be perfectly linear over a very wide range. In
practice only compressors based on VCAs and digital
potentiometers are likely to behave in this way.

Some compressors have a control to set the ratio anywhere
between 1:1 (ie: no compression), and 20:1 (which would be
regarded as a "brick wall limiter"). In the oneQ2 the "Slope" or
"Compression Ratio" is variable from 1:1 (ie: no compression) to
10:1. Slopes around 3:1 are gentle for vocals while higher slopes
are hard for drums and guitars. However that's not all there is to it.

Variable Ratio

In the Joemeek optical compressor the compression 'threshold'
is not clearly defined and the compression ratio varies with the
amount of compression applied. Suppose the 'SLOPE' control is
set to 5:1. For signals only just exceeding threshold, the ratio is
little more than 1:1. As the compressor is driven harder, the ratio
rises to 5:1, at least up to a point. It is a feature of the Joemeek
compressor that the compression ratio actually reduces again
during large transients and, adjusted correctly, this helps to retain
brightness that is often lost with other types of compressor. This is
why vintage optical compressors often sound more lively than
their modern counterparts.

Controls

'COMPRESS' sets the level of signal (the "Threshold") above

which the signal starts to be compressed. Turning the
compression control clockwise lowers the compression
threshold, and drives the compressor harder.

'SLOPE' sets the average compression ratio applied to signals
above threshold. Lower settings (anti-clockwise) have less effect.
Turning the control clockwise increases the ratio and makes the
effects of compression more dramatic. At maximum (10:1) the
Joemeek compressor effectively becomes a limiter.

'ATTACK' sets how quickly the compressor reacts to peaks
above threshold. Turn this control anticlockwise for a quick
response. Slower (clockwise) allows the fast leading edge of
percussive sounds to pass uncompressed for a moment, before
the compressor reacts to control the gain. This example of
"changing the envelope" of a sound exaggerates the percussive
nature of drums and other instruments. Settings around
mid-position are used where the compression needs to be less
obvious. Vocals for example, require Attack times around
10msec for natural sounding results. Faster attack times (anti­clockwise) in conjunction with large amounts of compression,
result in extreme "pumping" effects.

'RELEASE' sets how long the compressor goes on squashing
the sound for, once the signal has dropped below threshold. If it
stopped instantly there would be very noticeable modulation or
"pumping" of the sound. So we may want it to stop compressing
less abruptly and that is what the Release control is for. Generally,
the longer the Release time, the less obvious is the compression.
Of course some "pumping" might actually be desirable as a
special effect and that is another way in which the envelope of a
sound can be modified. The oneQ2 Release is variable from
100msec up to 3 seconds giving a wide variety of effects.

How the compressor behaves actually changes with programme
content and volume. So experiment with the controls with
different kinds of material to discover the range and depth of
effects that can be achieved. The 'COMP' in/out switch allows
comparison between compressed and uncompressed sound
(blue LED lights when active). Remember that the 'MAKE UP
GAIN' is there to restore the level of the signal after compression.
Correctly adjusted, there will be no change in volume as the
Compressor 'ON' switch is operated.

The Compressor is normally after the Preamplifier and the Insert
Point, and before the Meequalizer. Pressing the 'POST EQ'
switch however, places the Compressor after the Meequaliser.
Then for example unwanted bass, which would otherwise
modulate the Compressor, can be EQ'd out before the signal is
compressed.

'COMP LINK'

This is important when two oneQ2's are used together for stereo
work. When two mono compressors are used for stereo, differing
amounts of gain reduction occur in each channel, which causes
the stereo image to wander. The "Comp Link" switch avoids this
problem by summing the compressor control paths of both
oneQ2's and assigning control of the "slave" oneQ2's gain cell to
the "master" oneQ2. The 'COMPRESS', 'ATTACK' and
'RELEASE' controls on the master then operate both oneQ2's
and the corresponding controls on the slave oneQ2 are
redundant. Note however that all other controls still operate
independently on both oneQ2's and must be set the same for
correct stereo balance. The LED lights when active.

10

Meequalizer

The oneQ2 "Meequalizer" is a highly effective, versatile and
musically rewarding four-band equalizer, or tone control system.
Each stage allows boost or cut of up to 15dB around the
frequency in question. The 'EQ' switch turns the equalizer on, and
the green LED lights when active.

The LF band is centred at either 80Hz or 120Hz. Cutting can be
used to reduce unwanted low frequency noise, such as hum or
rumble. Boosting can bring out the warmth and body of bass lines
and (especially around 80Hz) kick drums.

The Lower Mid band can be tuned or "swept" anywhere between
200Hz and 2kHz. It may help to think of it as like a graphic
equalizer, only instead of lots of frequency bands, you have just
one, but it can be moved to cover any given frequency band.
Cutting the Lower Mid can reduce boominess or other annoying
resonances. Boosting can bring out the body and warmth of a
vocal, or the harmonics of bass instruments.

The Upper Mid band can be tuned or "swept" anywhere between
600Hz and 10kHz. Cutting the Upper Mid can reduce sibilance or
other annoying resonances. Boosting can bring out the
harmonics of instruments or make vocals more distinct.
Increasing or reducing the "presence" of an instrument or vocal in
this way, can appear to move the sound forwards or backwards in
a mix.

The HF or treble section is centred at either 7kHz or 14kHz.
Boosting the 14kHz band gives a sense of "air" or "sparkle" to
vocals, instruments and mixes, without boosting harsh upper-mid
frequencies. Alternatively with bass instruments, cutting this
band will reduce HF noise such as hiss and crackle. The 7kHz
setting is very effective at controlling sibilance and reducing
harshness, or indeed creating it, for example by boosting the
harmonics of electric guitars.

The EQ 'ON' switch allows comparison between equalized and
unequalized sound (LED lights when the Meequalizer is active).

The Meequalizer is normally after the Preamplifier, the Insert
Point and the Compressor. Pressing the Compressor's 'POST
EQ' switch however, places the Meequalizer before the
Compressor.

Technical stuff

Each section of the Meequalizer has a peaking or "bell" shaped
frequency response, which will be found to be musically more
satisfying than conventional "shelving" equalizers. The use of bell
curves at LF and HF also avoids boosting subsonics and
ultrasonics which can have adverse effects on other studio
equipment, such as recorders, monitor amplifiers and speakers.
The "Q" value of the peaking filters is 0.9 (or 1.6 octaves). Zero
phase distortion ensures the best possible audio coherence.

LF and HF frequency response

Mid frequency response (at 300Hz and 5kHz)

11

Enhancer

Output Stage (Cont'd)

The enhancer imparts a sense of presence and clarity to all types
of programme material. It does so by analysing a range of upper
mid frequencies and synthesizing musically related harmonics,
which are then added in small quantities to the original signal.

The 'EFFECT' control sets the percentage of harmonics to be
mixed with the original, while 'TUNE' selects the range of upper
mid frequencies used for harmonic synthesis (the part of the
audio spectrum above the indicated frequency, will be
processed). 'Q' emphasizes a narrow range of frequencies
around the frequency set by the 'TUNE' control and this can be
used to concentrate processing on a particular band of
frequencies. Using the 'TUNE' and 'Q' controls together allows
the Enhancer to lift out a particular part of a voice or mix.

The 'ON' switch allows comparison between processed and
unprocessed sound (LED lights when the Enhancer is active).

De-Esser

The De-Esser can be used to remove or reduce annoying
sibilance in vocal recordings, such as the "S" or "T" sound. It is
basically a frequency-conscious compressor that compresses
only a narrow range of frequencies rather than the whole
spectrum.

The 'TUNE' control sets the filter to match the "Ess" frequency
and the best way to do this is to press the 'LISTEN' switch (so as
to hear only the output of the filter), then adjust the 'TUNE' control
until the "Ess" is at maximum loudness. The 'DE-ESS' control
sets the amount of gain reduction within the "Ess" band.

The 'ON' switch allows comparison between processed and
unprocessed sound (LED lights when the De-Esser is active) and
the 'DE-ESS' LED lights when gain reduction is taking place.

Output Stage

'OUTPUT GAIN'. This output volume control provides up to 10dB
of gain and also goes right down to nothing, so acting as a fader to
fade a sound out completely.

CONNECTORS

Two outputs are provided, jack and XLR, so you can
simultaneously feed (say) a recorder and a monitor amplifier. The
switch adjacent to the 1/4" jack selects the output operating level
to either +4dBu (suits most professional studio equipment) or

-10dBv (suits semi-pro or hi-fi equipment). The XLR output is
always +4dBu. Check with the handbook for whatever you are
feeding, to find out which level is required.

The XLR output is balanced and wired as follows:

Pin 2: + (hot)
Pin 3: - (cold)
Pin 1: ground

The jack output is balanced and wired as follows:

Tip: + (hot)
Ring: - (cold)
Sleeve: ground

Balanced or Unbalanced

To run the XLR output unbalanced, it will be necessary to ground
pin 3 of the cable connector.

To run the 1/4" jack output unbalanced, just plug in a mono jack
plug. Either way, this increases the gain of the "+" signal by 6dB,
so there is no drop in level compared with balanced gear.

All outputs on all Joemeek "Q2" series products are properly
balanced, which is to say there is a signal on both pins! In this way
the maximum possible common-mode rejection of interference,
can be achieved at the receiving end.

Digital Interface

The Joemeek Digital Audio Interface provides high quality digital
audio outputs plus the ability to synchronize to an external word
clock. The digital audio outputs are compatible with most digital
recorders, as well as Digital Audio Workstations and mixers.
S/PDIF format is available from the optical and RCA Phono
connectors, while the transformer coupled XLR connector
provides a balanced, AES3 compatible output.

Highly stable onboard master clocks give low-jitter, hi-fi results.
Internal sample rates of 44.1kHz, 48kHz, 88.2kHz or 96kHz are
selected by means of rear panel switches. 44.1kHz is the
standard used for audio CD's, while 48kHz and 96kHz are widely
used in recording studios. In general, the higher the sample rate,
the better the audio fidelity, but the more disk space is required for
the recording. For example, recording at 96kHz requires twice as
much storage as 48kHz. Consult the manual of your recorder or
DAW as to what sample rates it will accommodate.

Alternatively the oneQ2 may be set to the frequency of an
external master word clock, generated, for example, by the
studio's recorder or DAW. When connected to the BNC socket
provided, a suitable external word clock will be detected
automatically and will override the oneQ2's internal word clock.

The front panel LED labelled 'EXT CLK' illuminates when the
oneQ2 is successfully locked to an external word clock.

To avoid distortion, care should be taken not to overdrive the input
to the Digital Interface. The red LED next to the Output Gain
control is labeled "PEAK FSD" which stands for "Full Scale
Digital". Occasional flashes are OK but if it is on all the time, turn
something down!

Note the Digital Interface is a two-channel device, with channel
one fed by the oneQ2's internal circuitry. In order to utilize the
second digital channel, an external analogue input is provided in
the form of a balanced 1/4" jack on the rear panel. In this way both
the output of the oneQ2 and another analogue source can be fed
into one digital input of a recorder or digital workstation.

12

Using the oneQ2

Using the Compressor

GETTING CONNECTED

The figure shows the oneQ2 being used instead of a mixing desk
in a recording setup:

• A microphone is connected to the Mic Input

• A guitar is connected to the Instrument Input

• The insert point is being used to divert the preamplified
signal through an external effects processor

• The XLR Output is connected to the recorder input

• The recorder output is connected to the Line Input for
playback. Previously recorded tracks may also be replayed
via the Line Input, to permit compression and equalization

POWER SUPPLY

Connect the oneQ2 power cord to the AC connector on the rear
panel and switch on the mains supply. NB: ensure that the oneQ2
is set to the correct mains voltage for your region either 115V or
230V. Orientate the fuse holder / mains voltage selector draw so
that the required voltage appears at the top. If in doubt consult a
competent engineer.

Using the Preamp

Turn the 'INPUT GAIN' control to minimum and connect the input
source. If you are using a condenser microphone, remember to
press the '48V' Phantom Power switch. Set the 'OUTPUT GAIN'
to "0dB". Turn up the 'INPUT GAIN' until the microphone sound
registers on the VU Meter, adjusting it so that the meter reads
between "0" and "+3" on sound peaks. When the red LED
(labeled 'PEAK') lights, the oneQ2 is within 6dB of clipping.
Occasional flashes are OK but if it is on all the time, turn the
'INPUT GAIN' down! Remember you can check the preamp gain
at any time by pressing the 'METER PRE' switch.

Start with the Compressor and Meequalizer off and adjust
'INPUT GAIN' and 'OUTPUT GAIN' so that the VU Meter reads
around 0dB. Now switch the meter to read gain reduction using
the 'GR' switch.

Set 'COMPRESSION' and 'ATTACK' fully anti-clockwise, with
'SLOPE' and 'RELEASE' at mid-position. Press the Compressor
'ON' switch and turn up the 'COMPRESSION' control until the
compressor GR meter starts to read 3dB or 5dB on audio peaks.
You should now be able to hear the compressor working as the
volume diminishes. Use the 'MAKE UP GAIN' control to restore
the signal to its previous (uncompressed) level. Alter the 'SLOPE'
control and listen to how the severity of the gain reduction
changes. Try changing the 'ATTACK' control and listen for
percussive sounds getting louder. Reducing the Attack and
Release times should emphasise this even more and the
compressor should start to "pump" audibly.

The overall result of compression depends on the combined
settings of the 'COMPRESS', 'SLOPE', 'ATTACK' and
'RELEASE' controls. Experiment with different combinations to
discover what best suits the material you wish to compress.
Watch the GR meter and don't overdo things - it's possible to
apply 20dB of gain reduction before you realise it!

Use the Compressor 'ON' switch to make comparisons between
compressed and uncompressed signals.

Using the Meequalizer

Always start with the Meequalizer boost/cut controls ('LF', 'LM',
'HM' and 'HF') set to "0" (the control knobs set vertically, in their
centre notches). This setting is also known as "flat".

You need to be careful about too much boost or "lift", since
boosting takes the oneQ2 closer to overload. The oneQ2 has
generous overload margins but when a lot of boost is used, it may
be necessary to compensate by reducing the 'OUTPUT GAIN' or
the 'INPUT GAIN' controls (the latter could affect the
'COMPRESS' setting though).

Keep an eye on the VU Meter when adjusting the EQ. When the
red LED (labeled "PEAK FSD") lights, the oneQ2 is within 6dB of
clipping. Occasional flashes are OK but if it is on all the time, turn
something down!

The way to use the 'LMF' and 'HMF' controls, is to apply quite a lot
of boost, then sweep the frequency until you "tune in" to the
sound you are interested in. Once you find it, adjust the amount of
boost or cut to give the desired effect.

Experiment with combinations of settings of EQ and try to picture
how the audio signal is being affected. Use the EQ 'ON' switch to
make comparisons between EQ'd and non-EQ'd signals.

13

Using the Enhancer

Troubleshooting

Press the 'ON' switch and set the 'EFFECT' control to mid position
and the 'Q' control fully anticlockwise. Use the 'TUNE' control to
change the character of the resulting enhancement.

Then turn up the 'Q' control and use the 'TUNE' control to hunt
around for particular elements of a voice or mix. With the
Enhancer you will usually find that "less is more" and it is as well
to keep the 'EFFECT' and 'Q' settings fairly low. It is very easy to
add too much harmonic and though the effect can be dramatic at
first, it will soon become wearing and contribute to listening
fatigue. If you can hear audible distortion creeping in you are
definitely overdoing it, so turn down the 'EFFECT' control and/or
raise the 'TUNE' setting.

Use the 'ON' switch to make comparisons between processed
and unprocessed sound. The nature of harmonic enhancement
is such that you may not realise how much effect it is having until
you turn it off!

Using the De-Esser

Set the 'DE-ESS' control fully anticlockwise. Press the 'ON' and
'LISTEN' switches so as to hear only the (somewhat shrill) output
of the filter, then adjust the 'TUNE' control until the "Ess" sounds
are at maximum loudness. Turn the 'LISTEN' switch off again and
advance the 'DE-ESS' control until the sibilance is reduced to an
acceptable, natural sounding level.

Be sure that the 'LISTEN' switch is off (out) prior to any recording!

Use the 'ON' switch to make comparisons between processed
and unprocessed sound.

Using the Output Stage

Final adjustments to the output level can be made with the
'OUTPUT GAIN' control, again keeping an eye on the VU meter
and 'PEAK FSD' LED. Note how this control can also be used to
fade out the signal completely.

1) No Power (no lights work)

• Is the power supply plugged in (both ends)?

• Is the mains power on?

• Is the mains voltage set correctly for your region?

• Has the mains fuse blown?

2) The microphone doesn't work

• Is it connected to the XLR input on the front or rear panel?

• If a condenser microphone, is the phantom power switched on?

• Is the 'LINE' switch out (LED off)?

• Is the 'INPUT GAIN' control turned up?

• Is the 'OUTPUT GAIN control turned up?

• Is something plugged in to the 'INSTRument' jack?

3) The line input doesn't work

• Is the source connected to the correct (jack) input on the rear?

• Is the 'LINE' switch in (LED on)?

• Is the 'INPUT GAIN' control turned up?

• Is the 'OUTPUT GAIN' control turned up?

• Is something plugged in to the 'INSTRument' jack?

4) The compressor doesn't work

• Is the Compressor 'ON' switch in (LED on)?

• Is the 'COMPRESS' control turned up enough?

• Is the 'SLOPE' control turned up enough?

• Is there enough signal, as set by the 'INPUT GAIN' control, to
drive the compressor?

5) Too little or too much compression

• Turn the 'INPUT GAIN' control up or down respectively, to adjust
the signal level to the compressor

6) The Meequalizer doesn't work.

• Is the EQ 'ON' switch in (LED on)?

• Is 'INPUT GAIN' control turned up?

• Is 'OUTPUT GAIN' control turned up?

7) The Enhancer doesn't work

• Is the Enhancer 'ON' switch in (LED on)?

• Is 'EFFECT' control turned up sufficiently?

• Does the programme material contain only low frequencies?

8) The De-Esser doesn't work

• Is the De-Esser 'ON' switch in (LED on) and the 'LISTEN' switch
out (LED off)?

• Is 'DE-ESS' control turned up?

• Does the programme material contain only low frequencies?

9) Too much noise

• Is the 'INPUT GAIN' control too high? Try moving the mic closer
to the source

• Is the 'OUTPUT GAIN' control set too high (for example when
lots of compression is being used)?

• Is there too much EQ boost?

• Is the noise already present in the input signal? (Try removing
the input)

10) Sounds distorted

• Is the 'INPUT GAIN' control too high?

• Is the 'OUTPUT GAIN' control too high?

• Is there too much EQ boost?

• When using the Compressor, is the 'RELEASE' control set too
low?

• Is the Enhancer on with the 'EFFECT' control set too high and/or
the 'TUNE' control set too low?

14

Technical Specification Notes

Input impedances Mic: 1.2kohm; Line: 20kohm;

Instrument: 2.2Mohm

Pre-amp overall gain 18dB to 60dB (variable)

Common mode rejection 70dB

Equivalent input noise -127.5dBu (unweighted)

Distortion 0.001% (below Compressor threshold)

Frequency response 15Hz to 70kHz (-3dB)

Maximum input before

clipping

Headroom before clipping

Pad

High Pass Filter

Compressor threshold

Compressor ratio

Compressor attack time

Compressor release time

EQ Boost and Cut

EQ "Q"

LF Frequency

LMF Frequency

HMF Frequency

HF Frequency

Nominal output levels

Output impedance

Output Level switch

Noise Floor

VU Meter

Power supply

Power consumption

Mechanical

Weight

Mic: +24dBu; Line: +45dBu

+24dBu

20dB attenuation

12dB per octave cut below 80Hz

-6dBu to +22dBu (variable)

1:1 to 10:1 (variable)

1 msec to 100 msec (adaptive)

0.1 sec to 3 sec (adaptive)

±

15dB (bell response)

0.9 (1.6 octaves)

80Hz/120Hz switchable

200Hz to 2kHz variable

600Hz to 10kHz variable

7kHz/14kHz switchable

+4dBu/-10dBv

100 ohm

12dB attenuation

-85dBu (typical, with ~40dB mic gain)

Analogue movement

115V / 230V ac mains, 50/60Hz

30W

482W x 88H x 220D (overall)

3 kilos

Digital Interface

Resolution:

Dynamic range:

Noise Floor:

Distortion (20Hz - 20kHz):

Crosstalk:

* 20kHz bandwidth sampled at 96kHz = 2.4x
Master clock frequency / sample rate = 256x at 96kHz

24-bit oversampled* delta sigma

typically 95dB A-weighted

typically 92dB A-weighted (referenced
to 0dBFS = +18dBu). So for a +4dBu
signal, the SNR is 78dB

0.01% @ 0dBu at 96kHz sample rate

0.02% @ 0dBu at 48kHz sample rate

0.02% @ -1dBFS at all sample rates

typically -67dB (20Hz - 20kHz)

15

6