SSB Audio GmbH
Sonnenweg 25 – 30827 Garbsen – Germany
www.ssb-audio.com
ADICON
Connecting and Operating
ADICON – Connecting and Operating
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Contents
1 SAFETY GUIDELINES – READ BEFORE USING! ................................................................................. 3
2 Introduction ........................................................................................................................................ 4
3 Connection .......................................................................................................................................... 4
3.1 Power Supply ........................................................................................................................... 4
3.2 Analog Connections ................................................................................................................ 5
3.2.1 Turntables ................................................................................................................................ 5
3.2.2 Tape Recorder Input/Output ................................................................................................. 6
3.3 Digital Connections ................................................................................................................. 6
3.3.1 Digital Outputs ......................................................................................................................... 6
3.3.2 USB Port.................................................................................................................................... 6
3.3.3 PC Connection via S/PDIF or Toslink ..................................................................................... 7
3.3.4 The Earth or Hum Loop Problems, Particularly with USB Ports ....................................... 8
4 Operation ............................................................................................................................................ 9
4.1 Input Selection and Input Sensitivity .................................................................................... 9
4.2 Peak Program Meter, PPM ................................................................................................... 10
4.2.1 (S)PPMs and VU-Meter .......................................................................................................... 10
4.2.2 Why Optimum Level Control? .............................................................................................. 10
4.2.3 The Peak Hold Function ........................................................................................................ 11
4.2.4 LED Brightness ....................................................................................................................... 12
4.3 Sample Rate ........................................................................................................................... 12
4.4 Headphone Output ............................................................................................................... 12
5 Technical Data .................................................................................................................................. 13
5.1 Connections ........................................................................................................................... 13
5.1.1 Inputs ...................................................................................................................................... 13
5.1.2 Outputs ................................................................................................................................... 13
5.1.3 USB .......................................................................................................................................... 13
5.1.4 Power Supply ......................................................................................................................... 14
5.2 ADC .......................................................................................................................................... 14
5.3 Measured Values ................................................................................................................... 14
5.3.1 Frequency Response ............................................................................................................. 14
5.3.2 Frequency Response PHONO .............................................................................................. 14
5.3.3 Distortion and Crosstalk ....................................................................................................... 15
5.3.4 S/N Ratio ................................................................................................................................. 15
5.4 Housing ................................................................................................................................... 16
6 Getting Started with Audacity......................................................................................................... 17
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6.1 Installation .............................................................................................................................. 17
6.2 Selecting the Recording Device ........................................................................................... 17
6.2.1 Connection via the USB-Interface ....................................................................................... 17
6.2.2 Connection Via S/PDIF Resp. Toslink .................................................................................. 18
6.2.3 Project Rate ............................................................................................................................ 18
6.2.4 Pre-listening ........................................................................................................................... 18
6.3 Recording ............................................................................................................................... 18
6.4 Pre-Listening While Recording ............................................................................................. 18
6.5 Listening in Already Recorded Audio Tracks ..................................................................... 19
6.6 Playback .................................................................................................................................. 19
6.7 Editing Recordings ................................................................................................................. 19
6.7.1 Selecting Time Periods ......................................................................................................... 19
6.7.2 Zooming .................................................................................................................................. 19
6.7.3 Cutting..................................................................................................................................... 19
6.7.4 Modifying Single Samples .................................................................................................... 19
6.7.5 Separate Recordings into Several Audio Tracks ................................................................ 19
6.7.6 Fade In and Out ..................................................................................................................... 21
6.7.7 Normalize ............................................................................................................................... 21
6.7.8 Save an Audio Track or a Part of an Audio Track to File .................................................. 22
6.8 Further Functions .................................................................................................................. 22
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1 SAFETY GUIDELINES – READ BEFORE USING!
The device meets protection class 2 and has left the factory in a technically faultless state.
In order to assure this state and to insure riskless operation the user must obey the notes and
warnings which are part of this manual.
SAFETY, RELIABILITY AND PERFORMANCE OF THIS DEVICE ARE GUARANTEED ONLY WHEN:
Installation, expansions, modifications and repairs are accomplished only by the
manufacturer or by personal authorized by the manufacturer.
The electrical installations of the relevant room meet the corresponding IEC (ANSI)
requirements.
The device is used in accordance with this user manual.
POWER SUPPLY
The device is designed for continuous operation. The power supply’s operating voltage must
meet the local line voltage.
Avoid connections to the power supply system in junction boxes together with many other
devices. The electrical outlet needs to be installed close to the device and easily accessible.
Use the supplied power supply unit. Other power supplies may cause malfunctions or even
damage the device.
INSTALLATION SITE
The device should stand only on clean horizontal work surfaces or be installed in a suitable rack.
During operation the device must not be exposed to vibration. Humidity, liquids of all kinds and
dust must be kept away as far as possible. Sufficient ventilation needs to be provided. Avoid
direct sunshine and the proximity of radiators and radiant heaters.
IMPORTANT NOTE
Computers are highly complex systems. Their behavior is not always explainable and not always
reproducible. Particularly in the case of cooperation with external hardware applications work in
some cases only after extensive tests and possibly further measures. The number of possible
obstacles is enormous, sometimes insurmountable obstacles also arise. The application software
is complex, too, and if important settings are incorrect or operating procedures are unclear in the
software, another source of alleged malfunctions arises.
Therefore, the responsibility for the correct operation of the entire system is with the user. SSB
AUDIO GmbH cannot take over this responsibility. The ADICON has been successfully tested with
several computers, operating systems and recording programs.
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2 Introduction
Many now historic, but high-quality sound sources from the analog time, that is to say tape
recorders and turntables, meanwhile do not only scrape an existence as visual museum or
collector’s items anymore, but they are actively operated (again). The desire for an appropriate
digital connection of these devices to the modern digital world is obvious.
The ADICON (Analog-to-Digital Converter) was specially designed to provide this missing link.
This ADC is equipped with special inputs and outputs and other functions that are necessary or
useful for this application:
Two inputs (RCA), both individually adjustable in their sensitivity
For one of the inputs an RIAA preamplifier can be activated so that it also can be used as
turntable input (moving magnet, moving coil on demand)
The other input can also be accessed via its DIN connector for tape recorders with a DIN cable.
Line output (RCA)
Headphone output for operation as a separate headphone amplifier or to preview the source
Level indicator for the ADC
Digital outputs optical (Toslink) and coaxial (RCA, S/PDIF), 44.1 to 192 kHz, 24 bit
USB interface
The connection and the operation of the ADICON are quite obvious with only a few exceptions.
This should particularly be true for those users who have been concerned for many years with
the technology of their equipment. But at least for the digital part some valuable information
could be found here.
3 Connection
3.1 Power Supply
The included 12-volt power
adapter can be connected to the
ADICON with a lockable connector.
Rotate the plug clockwise so that
that it cannot accidentally be
disconnected.
The ADICON is turned on by pressing the POWER switch. The operation is indicated by the
illumination of one of the two LEDs SOURCE on the front panel.
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3.2 Analog Connections
3.2.1 Turntables
It is to be distinguished:
Turntable with MM (moving magnet) cartridge without RIAA preamplifier
Turntable with MC (moving coil) cartridge without RIAA preamplifier
Turntable with MC cartridge with transformers without RIAA preamplifier
Turntable with MM or MC cartridge with its own RIAA preamplifier
A turntable with MM (moving magnet) cartridge
without RIAA preamplifier is connected to the RCA
jacks IN 1. The push button AUX/PHONO must be
pressed to activate the RIAA preamplifier in the
ADICON.
With the switches LOAD the load capacitance of the
cartridge recommended by its manufacturer is set.
This load capacitance affects the frequency response
at high frequencies. The minimum load capacitance of the ADICON is 100 pF.
Note the following:
Load capacitors may already be installed into the turntable. These have to be taken into
account or to be removed.
The audio cable from the turntable also represents a significant capacitive load that must be
considered. With a good cable you can expect about 100 pF/m. Unsuitable cables can have
capacitances of up to 500 pF/m.
For this reason the audio cable from the turntable should never be extended!
A turntable with MC (moving coil) cartridge without RIAA preamplifier is also connected to
the RCA jacks IN 1, but instead of an MM RIAA preamplifier an RIAA preamplifier for MC
cartridges (option) must be installed in the ADICON. The push button AUX/PHONO must be
pressed to activate the RIAA preamplifier in the ADICON.
The properties of MM and MC cartridges and preamps are very different. MM preamps have an
approximately 10 times higher gain, a very small input impedance and do not need an external
load capacitance.
Switch Positions
Load Capacity
1 2 3 4 5 6 pF
OFF
OFF
OFF
OFF
OFF
OFF
100
ON
OFF
OFF
ON
OFF
OFF
150
OFF
ON
OFF
OFF
ON
OFF
200
ON
ON
OFF
ON
ON
OFF
250
OFF
OFF
ON
OFF
OFF
ON
300
ON
OFF
ON
ON
OFF
ON
350
OFF
ON
ON
OFF
ON
ON
400
ON
ON
ON
ON
ON
ON
450
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A turntable with MC cartridge with transformers without RIAA preamplifier is connected
like a turntable with MM (moving magnet) cartridge without RIAA preamplifier to the input IN 1.
The push button AUX/PHONO must be pressed to activate the ADICON’s RIAA preamplifier.
Turntables with MM or MC cartridges with their own RIAA preamplifiers can be connected
to IN 1 as well as to IN 2. The push button AUX/PHONO is not pressed.
3.2.2 Tape Recorder Input/Output
A tape recorder is preferably connected to its designated
input IN 2, but it can also be connected to IN 1. Thus two
tape recorders can be connected simultaneously to the
ADICON.
When connected to IN 2 the RCA jacks IN 2 can be used
for the playback signal and the RCA jacks LINE for the
record signal or the common DIN socket TAPE IN/OUT
can be used for both signals.
IN 2 and TAPE IN/OUT must not be used at the same time.
When connected to IN 1 the RCA jacks IN 1 are used for the playback signal and the RCA jacks
LINE for the record signal. The push button AUX/PHONO is not pressed.
3.3 Digital Connections
3.3.1 Digital Outputs
Both digital outputs deliver the same signal and can be used
simultaneously. The S/PDIF output is equipped with an isolation
transformer. Thus hum loops caused by the coaxial cable are avoided.
Particularly for the operation of a turntable and an exclusively digital
connection to the hi-fi system it may prove necessary that the ADICON or,
e.g., the turntable must be connected to ground or protective earth to avoid hum troubles. The
ADICON provides a corresponding ground screw.
3.3.2 USB Port
There is a combined USB Audio Class 1/2 interface available, being
able to transfer sample rates of 44.1, 48, 88.2 and 96 kHz at 24 bit as
well as 176.4 and 192 kHz at 16 Bit resolution (USB Audio Class 1) and
176.4 und 192 kHz at 24 bit resolution (USB Audio Class 2).
Note: Microsoft Windows® only supports USB Audio Class 1, so that in Windows operating
systems the sampling rates of 176.4 and 192 kHz are available with 16 bit resolution only.
Apple OS X® (from 10.6, Snow Leopard) and Linux also support USB Audio Class 2, so that
all sample rates listed above are available at 24 bit resolution.
When connecting to the USB host (e.g., a PC or notebook) the ADICON is reported as another
audio device labeled ADICON-XXXXX Hz where XXXXX indicates the sampling rate set at the
ADICON. If the sampling rate is changed at the ADICON it logs off and after a few seconds logs on
again as another audio device with the new sampling rate and appropriate different name.
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In case of Windows and at sample rates greater than 96 kHz ADICON XXXXXX kHz/16 will be
indicated. The time until the ADICON logs on again as an audio device after it has been connected
for the first time to a Windows PC will be prolonged by another 30 seconds.
It is not necessary to install any drivers.
This device is only intended for recording on the PC. Playback must take place using a different
audio device on the PC.
Note: This means that the signal from the ADICON via USB is not directly audible under normal
circumstances, i.e., it is not available in the playback control. The signal can solely be
recorded and is audible only during playback. This is caused neither by the ADICON nor by
the operating system of the PC. It is caused principally by the digital technology and is
because a correct reproduction of audio signals produced in real time (e.g., by an ADC like
the ADICON), is possible only when the clocks of ADC and DAC run exactly synchronously.
Due to the USB interface the precise timing of the source gets lost in the PC.
If playback through another audio device (i.e., another DAC necessarily running with
another asynchronous clock) is possible at all, it is therefore only possible with
compromises. For that buffers are usually introduced which on the one hand cause a delay
in the output and, secondly, overflow or underflow over time due to the asynchronous
clocks. As a rule this leads to discarding a complete buffer content at overflow or to a
repetition at underflow causing significant disturbances in the signal. Often such a way is
therefore not even provided.
Depending on the operating system and any application program, the audio signal from
the ADICON can at least be made visible on the PC, where appropriate, with a level meter.
Also, the program AUDACITY further mentioned below shows the audio level in recording
mode with the correct setting. AUDACITY even offers the opportunity to output the signals
from the ADICON with the delay caused by the buffer and the possible overflow and
underflow via another audio device.
The green LED C signals that a USB host is connected.
The green LED S signals by slow flashing that the ADICON is ready for data transmission. It does
not signal that the data transmission actually works or that a host is connected. It is constantly
illuminated when data transfer is taking place. It indicates by double-flashing that a connection to
a Windows PC at 176.4 or 192 kHz is established. It goes out briefly when the sampling rate is
changed on the ADICON. In order to avoid annoyance flashing is terminated after 3 minutes
when no change of state was encountered.
If needed, we recommend the free program AUDACITY for recording, editing and playback of files
(http://audacity.sourceforge.net/) which is available for Windows®, OS-X® and Linux. This
program offers a great deal more than simply recording an audio signal. A brief introduction can
be found at the end of this manual.
Note: SSB AUDIO GmbH cannot take over the system responsibility for ensuring that your
computer or software, in particular in cooperation with the ADICON, is working properly.
3.3.3 PC Connection via S/PDIF or Toslink
PCs can be linked directly to the ADICON via S/PDIF or Toslink or by using the USB port. Both
have advantages and disadvantages.
If the ADICON is digitally connected via S/PDIF or Toslink to a PC, the restrictions concerning the
simultaneous playback of the audio signal on the PC listed in the previous chapter 3.3.2 USB Port
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do not apply, even if the connection is made via an external USB interface which allows
simultaneous recording and playback.
However, it must be expected that the audio data is changed that way without the user being
able to recognize it. The audio can be resampled and/or changed in amplitude.
It is a good sign and a minimum requirement if the record level control is not adjustable, because
if it is adjustable, it is almost certain that the audio data is changed in amplitude. Aside from that,
the indication of the ADICON’s level meter is not necessarily valid in such a case.
Undesirable resampling cannot easily be recognized. Depending on the system, it may be
necessary that the sampling rate on the PC must be set equal to that on the ADICON.
Unfortunately we can give no more than such vague tips here, at best the simple advice: "For
more information, ask your system administrator, study the manuals of your system components
or conduct intensive behavioral research on your system."
3.3.4 The Earth or Hum Loop Problems, Particularly with USB Ports
General background information
Often the sound in hi-fi systems is interfered with so-called ground or hum loops. Put simply, this
phenomenon arises especially when the signal grounds of the individual components of a system
are connected to at least two different points to the protective earth. Hi-fi components in the
home are not usually grounded to earth, but are usually connected to the protective earth via the
antenna connection of the tuner. This single connection to protective earth is not only harmless,
it may even be important and prevent hum of another kind.
A problem arises when a second device that also has a connection to protective earth is
connected to the hi-fi system. This can be a TV set with its antenna connection or an earthed PC,
for example. Then so-called equalizing currents flow through the signal masses of the audio
cables that are superimposed on the signal voltage and jam it.
The compensation currents are really critical where they flow through analog audio cables. There,
however, where they flow, e.g., through antenna cables, power cables, digital lines or network
cables, they are relatively harmless.
The ADICON’s special situation
So beside the antenna connector the second connection to protective earth could be a grounded
PC which is connected via USB to the ADICON and from there via analog audio cable to the hi-fi
system.
The above sentence must be read carefully: It says that exactly three conditions for a ground loop
must be met:
1. The hi-fi system is already earthed at one point, e.g., via the antenna.
2. The PC (or a device connected to the PC) is grounded as well. That is common, only in
netbooks or notebooks this might not be the case.
3. The ADICON is not only digitally, but also via an analog cable (typically at ADICON output LINE)
connected to the hi-fi system.
On point 3: However, a solely digital connection, optical or coaxial, between the ADICON and the
hi-fi system is completely harmless, because the optical output OPTICAL is isolated by nature and
the coaxial output S/PDIF of the ADICON is equipped with an isolation transformer which
prevents earth loops reliably. In a purely digital connection so to speak two mutually insulated
earthed „islands“ are formed: The hi-fi system, earthed via the antenna of the tuner, and the
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ADICON with its sources, grounded via the USB cable to the PC. (Even if the digital connection did
not separate, the compensating current flowing in that case would probably be harmless,
because it does not flow over an analog audio cable.)
Conclusion to avoid earth loops
It is sufficient when one of the above three conditions is not satisfied:
1. When the antenna is disconnected or connected via an isolating transformer.
2. When a notebook or netbook which is not connected to protective earth is used. But it must
also not be linked to a further device, e.g., a monitor or printer, or via a network cable
connected to protective earth!
3. When the ADICON is connected exclusively digital to the hi-fi system. This condition is easily
met.
Another example: If, e.g., a tuner (set-top box, TV) was linked additionally to an ADICON
connected to protective earth via USB, a ground loop would probably arise again via the antenna
or network connection of the devices. The compensating current over the analog connection
cable caused by that would probably disturb the sound of these devices.
4 Operation
4.1 Input Selection and Input Sensitivity
The push button SELECT is used
to select between the inputs IN 1
and IN 2. The selected input is
indicated by the corresponding
LED.
The sensitivity can be set
separately for each input with the
corresponding potentiometers
IN 1 or IN 2 respectively. This
setting is not thought of as
volume control according to
custom, where the signal can be
reduced to total silence. Instead, the gain of the input stage can only be set in a range from
-10 dB to +20 dB.
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4.2 Peak Program Meter, PPM
The sensitivity of the inputs should be
adjusted so that the ADC does not overdrive
in any case. Not because that would mean a
physical danger to it, but because otherwise
distortions by cutting the voltage spikes,
known as clipping, would arise. On the
other hand, it should not be set too low.
4.2.1 (S)PPMs and VU-Meter
For level metering a digital so-called Peak
Program Meter (PPM) is provided which
measures the digital data stream and not
the analog signal. That is why there are no positive values on its scale, because the signal is either
within limits or it is clipped, but a digital signal cannot exceed its range of numerical values.
Clipping is indicated by the red LEDs CLP.
With the VU meters, customary in tape recorders, it is totally different: There is no distinct limit
on tape recorders. With a rising level only the harmonic distortions increase moderately, so that
overdriving, particularly at short peaks, hardly carries any weight. Full scale in tape recorders
depends more on the trade-off between dynamic range and distortion and is, in contrast to the
level control of digital signals, relatively arbitrary.
A PPM is different from VU meters also in that it reacts much faster to voltage spikes. In
particular, the variant used here, a so-called sample PPM (SPPM) takes into account each sample
in full. Its attack time is practically 0.
4.2.2 Why Optimum Level Control?
In principle it would be possible to make the inputs so insensitive that the ADC cannot be
overdriven under any conditions. It would then normally be modulated only slightly, but in
contrast to, e.g., a tape recorder in which a low level control reduces the dynamic range, the
inherent noise of a modern ADC like the ADICON is so low that this effect does not matter in
practice. This is particularly true in connection with tape recorders and turntables.
There is a more important reason for optimum level control: The ADICON will probably not be
the only (digital) source in the audio system. When its signal is played back, its loudness should
not differ much from the loudness of other sources, e.g., CDs. Thus the ADICON should be set or
modulated accordingly.
Some background information:
Many CDs are modulated in a way that the loudest passages or the highest voltage spikes just
reach the technical maximum. The full scale range (FS) is used to 100%. This is called a level of
100% FS. As this can hardly be done manually, the whole recording is searched for the loudest
passage on a computer before the mastering and subsequently the gain is set so, that this
passage is recorded just with 100% FS. This is called normalizing and it is often also combined
with a more or less strong compression, so that full scale may occur not only once, but also even
very often. It speaks well for the producer, when his production is not as loud as possible, but
when the original dynamic range is maintained and when he does not go for the limits of the full
scale range.
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When the level is to be adjusted it is of course usually impractical or even impossible to
determine the loudest passage in advance. So you have to work with a corresponding safety
margin.
This safety margin is individual, it depends on the program material as well and a little
bit on the user’s experience.
As a reference value the following could be specified:
A level control of program material coming from a CD which is permanently maximally
modulated as described above is easily and safely possible until shortly before clipping. The -2 dB
LED would flare quite frequently, but only briefly at a time. That applies to the orange section of
the LEDs.
Recordings with greater dynamic should perhaps first be modulated with -8 dB max., that means
in the yellow section of the LEDs, in the hope that no 8 dB higher peaks occur.
Out of purely technical reasons you can be much more confident that with voice, transmitted via
radio, no particularly high peaks will occur, which is completely different to recordings from a
child’s birthday party.
4.2.3 The Peak Hold Function
Often a peak hold function where a measured peak value is displayed over a certain
time by an illuminated LED proves to be useful. Because you do not have to look so
closely, short peaks can be recognized easier.
The peak hold time is set with the switches 1 and 2 of the 4 switches SET on the rear
of the ADICON according to personal preferences:
Switch Position
Time (s)
Description
1 2
OFF
OFF
Off*
Advantage: Even a short flare of individual peak values can
be recognized
ON
OFF
1
A common peak hold time
OFF
ON
3
Leaves more time during which you do not have to keep an
eye on the level control
ON
ON
10
Leaves an extreme amount of time during which you do not
have to keep an eye on the level control
*Note: In position OFF the red LEDs CLP also have peak hold functions of 1 second (more
precisely: Clip hold functions).
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4.2.4 LED Brightness
The LEDs can be adapted in their brightness to the user’s individual preferences in 4
relatively big steps. The setting is done with the switches 3 and 4 of the 4 switches SET
on the rear of the ADICON:
Switch Position
Brightness
3 4
OFF
OFF
100%
ON
OFF
25%
OFF
ON
6%
ON
ON
1.5%
4.3 Sample Rate
The sample rate (SAMPLE RATE) can be set to the most common
values between 44.1 kHz and 192 kHz.44.1 kHz is used with CDs,
48 kHz among others with DVDs. Higher sample rates are rather
found in sound studios. They allow for a higher signal bandwidth.
There are no disadvantages when working with higher sample
rates, e.g., between the ADICON and an amplifier with digital input
or a DAC, as long as this device supports the higher sample rate. Of
course, more memory space is needed for the recording of such
signals.
For operation via the internal or an external USB interface please
regard the information in the chapter USB.
4.4 Headphone Output
The headphone output is equipped with an individual
volume control adjustable with the potentiometer VOLUME.
All common headphones can be connected to the output
PHONES. For headphones with a 3.5 mm jack a ¼” adapter
is required.
Caution: Compared to headphone outputs, e.g., in hi-fi
systems, this output supplies a significantly higher volume
as common in professional practice.
The gain of the headphone amplifier was chosen so that it
does not overmodulate as long as the red CLP LEDs are not
illuminated. Strictly speaking, this is true only for headphone
impedances greater than 300 ohms approximately, as usually found in headphones for hi-fi
systems. Head phones for professional applications often have significantly lower impedances.
However, their output signals always remain undistorted at modulations to about -1 dB.
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5 Technical Data
(Errors and technical modification subject to change)
5.1 Connections
5.1.1 Inputs
IN 1 Type: RCA
Usage: Phono, Tape, Aux
Input voltage at full scale (100% FS) = 2 V
RMS
at output LINE:
Switch PHONO/AUX in position PHONO, MM: 2 mV
RMS
to 60 mV
RMS
Switch PHONO/AUX in position PHONO, MC: 0.2 mV
RMS
to 6 mV
RMS
Switch PHONO/AUX in position AUX: 200 mV
RMS
to 6 V
RMS
IN 2 Type: RCA and DIN
Usage: Tape, Aux
Input voltage at full scale (100% FS) = 2 V
RMS
at output LINE:
RCA jacks: 200 mV
RMS
to 6 V
RMS
DIN socket: 200 mV
RMS
to 6 V
RMS
Control range of the gain for IN 1 and IN 2: -10 dB to +20 dB
5.1.2 Outputs
LINE Type: RCA and DIN
Output voltage at full scale (100% Full Scale):
RCA jacks: 2 V
RMS
DIN socket: 100 mV
RMS
PHONES Type: TRS jack, ¼”
Usage: Headphone output on the front panel
Output voltage: Max. approx. 6.4 V
RMS
unloaded
Output impedance: 47 Ω
S/PDIF Type: RCA, transformer-coupled
Usage: Output digital audio signal coaxial
Output impedance: 75 Ω
Output voltage: 1 VPP at 75 Ω load
Format: Consumer, no copyright protection (C=1, L=0)
TOSLINK Usage: Output digital audio signal optical
Format: Consumer, no copyright protection (C=1, L=0)
5.1.3 USB
Connection Receptacle type B
USB Audio Class USB Audio Class 1 up to 96 kHz / 24 Bit
USB Audio Class 1 at 176.4 and 192 kHz / 16 Bit (Windows)
USB Audio Class 2 at 176.4 and 192 kHz / 24 Bit (OS X and Linux)
Power Supply Self powered device, max. power consumption from USB 20 mA
ADICON – Connecting and Operating
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5.1.4 Power Supply
Connector: Low-voltage connector (barrel jack) 5.5/2.1 mm, lockable
Operating voltage: 12 V
DC
Current consumption: Full scale, no headphone: 350 mA approx.
Full scale, max. with headphone: 800 mA approx.
5.2 ADC
Sample rates: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz
Resolution: 24 Bit
5.3 Measured Values
5.3.1 Frequency Response
Settings: Input: IN 1 or IN 2
Gain: 0 dB
Input voltage: 1.8 V
RMS
approx. (equivalent to -1 dB FS)
Output: digital
Readings: Sample rate 96 kHz (refer also to the following figure):
Approx. 2 Hz to 48 kHz < +0/-3 dB
Approx. 10 Hz to 43 kHz < +0/-0.2 dB
Sample rates < 96 kHz:
Upper cut-off frequencies proportionally reduced
Sample rates 176.4 and 192 kHz:
Upper -3 dB cut-off frequency: Approx. 69 kHz resp. 76 kHz
Upper -0.2 dB cut-off frequency: Approx. 48 kHz resp. 52 kHz
5.3.2 Frequency Response PHONO
Corresponding to RIAA standard plus 7 Hz high-pass filter
Deviation +/-0.5 dB max. (typ. +/-0.2 dB) in the range of 20 Hz to 20 kHz)
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5.3.3 Distortion and Crosstalk
Settings: Input: IN 1
Gain: 0 dB
Left channel: Signal 1 kHz Sine, level –3 dB FS (equivalent to 1.4 V
RMS
approx.)
Right channel: Level 0 V, input terminated at low
Output: Digital at 96 kSa/s sample rate
Readings: (Refer also to the following figure)
Distortion: 0.00015% (-116 dB) at 1 kHz and -3 dB FS
Crosstalk: -103 dB approx. at 1 kHz
5.3.4 S/N Ratio
Settings: Input: IN 1
Level: 0 V, input low-impedance terminated
Output: Digital at 96 kHz sample rate
Readings: Gain (dB) ANSI-A 20 Hz to 22 kHz linear
-10 110 dB 108 dB
0 109 dB 107 dB
+10 107 dB 105 dB
+20 98 dB 96 dB
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5.4 Housing
Material: Steel, powder-coated surface, front panel 5 mm aluminum
Dimensions: Depth: 172 mm without connectors, incl. control elements
Width: 219 mm
Height: 40 mm without stands
Height: 50 mm with stands
Weight: ADICON: 1455 g incl. phono preamp and USB interface
Power supply: 160 g
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6 Getting Started with Audacity
Audacity is a free open source software for professional recording, editing and playback of audio
signals and provides much more functions than within the scope of the usual use of the ADICON
is required. The huge number of functions is not only advantageous, it may also cause confusion
for a beginner so that a start becomes more difficult than necessary.
Other recording software is generally not free but offers in return a wider range of functions.
Corresponding to our experiences, for this but also for other reasons it is sometimes significantly
more difficult to learn to know in these programs.
This is why we present a short introduction to Audacity and its most important functions here.
Note: Computers are highly complex systems. Their behavior is not always explainable and not
always reproducible. Particularly in the case of cooperation with external hardware
applications work in some cases only after extensive tests and possibly further measures.
The number of possible obstacles is enormous, sometimes insurmountable obstacles
also arise. The application software is complex, too, and if important settings are
incorrect or operating procedures are unclear in the software, another source of alleged
malfunctions arises.
Therefore, the responsibility for the correct operation of the entire system is with the
user. SSB AUDIO GmbH cannot take over this responsibility. The ADICON has been
successfully tested with several computers, operating systems and recording programs.
6.1 Installation
Audacity is available for Windows®, OS X® (from 10.6, Snow Leopard on) and Linux.
When it is installed on OS X® 10.9.5 and higher it may happen that the start of the installation will
be blocked because the identity of the developer cannot be verified. In case that the program has
been downloaded from a trustworthy source the installation process can be resumed without
fearing negative consequences. In this case you need to:
1. Confirm the message with OK.
2. Click on AUDACITY.dmg once more but this time with the right mouse button.
3. In the context menu that appears shortly afterwards click on “Open“.
4. The same message appears again, but this time you are asked whether you really want to
open the application.
5. Confirm this by clicking on “Open“. Then the installation will start.
After the installation of Audacity all except a few settings are so that you can directly work with it.
6.2 Selecting the Recording Device
6.2.1 Connection via the USB-Interface
When the ADICON is connected through its USB-interface
before Audacity has been started it can resp. must be selected
as a recording device in the drop down box beside the microphone symbol.
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When the ADICON is connected through its USB-interface after Audacity has been started it must
first be introduced to Audacity before it can (and must) be selected as a recording device:
Transport Rescan Audio Devices.
The same applies when the sample rate at the ADICON is changed. In this case the ADICON logs
off from the operating system and logs on again after a couple of seconds with a new name. Only
then the “new“ ADICON is available as recording device in the drop down box beside the
microphone symbol.
Note: In case of Windows® the operation with sample rates of 176.4 and 192 kHz is available
with limitations only because Windows® does not support USB Audio Class 2.
1. At sample rates of 176.4 und 192 kHz the sample width is reduced to 16 bit. In
those cases the ADICON registers as e.g. ADICON 192000 kHz/16.
2. When the sample rates 176.4 or 192 kHz are selected for the first time after a
connection to a Windows® PC it takes additional 30 seconds until the ADICON is
available as a 16 bit recording device. This mode is indicated by double instead of
single flashing of the LED S on the ADICON’s rear side.
6.2.2 Connection Via S/PDIF Resp. Toslink
In this case in the drop down box beside the microphone symbol only the corresponding sound
card needs to be selected as recording device. In the settings of the sound card the S/PDIF input
must be activated. Attention: If possible, available settings for volume should be disabled
because otherwise it is very likely that the original audio data is modified in an unpredictable
manner, possibly even by DA conversion, level change and successive AD conversion.
6.2.3 Project Rate
The project rate (project’s sample rate) should match the sample rate of the
ADICON, otherwise a sample rate conversion during recording will take place.
The project rate that Audacity adopts after start-up can be set in Edit Preferences Quality
Default Sample Rate.
6.2.4 Pre-listening
When pre-listening is
enabled with
Transport Software Playthrough, the ADICON’s signal can be listened to with a click on the
recording level meter.
6.3 Recording
Recording is started with the record button (or key R), paused with the pause button (or key P) or
terminated with the stop button (or key space).
With each new start a new audio track is instantiated. Needless audio tracks can be removed with
the X in .
6.4 Pre-Listening While Recording
As already described above, pre-listening through the PC during recording is possible but with a
high probability that after more or less time faults in the heard (but not in the recorded) audio
signal will appear. Pre-listening is enabled with Transport Software Playthrough.
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6.5 Listening in Already Recorded Audio Tracks
When an audio track has already been recorded and a new audio track is instantiated with a new
recording, the previous audio track will simultaneously be played back. This is important for
musicians but bothering when e.g. records shall be digitized. This option is called ”overdubbing”
and can be disabled with Transport Overdub.
6.6 Playback
Playback is started and stopped with the playback button (or key space) and can be paused with
the pause button (or key P). When no selection within a recording has been made all audio tracks
will be played back from the beginning until the end of the longest audio track.
When a selection within a recording has been made only this selection is played back.
During playback individual audio tracks can be muted or selected to be solo,
i.e., to be the only audible track.
6.7 Editing Recordings
6.7.1 Selecting Time Periods
Using the selection tool a time marker can be set or a time period can be selected. Afterwards
such a marker or selection may be modified with this tool.
6.7.2 Zooming
Using the functions (zoom in and out), (zoom a time period) (display the whole
recording) and (zoom the selected time period) parts of the recording can be displayed in
detail, e.g., in order to examine specific events like the beginning or the ending of a part or a
disturbance within a recording and to modify it.
6.7.3 Cutting
A selected time period will be removed with the scissors symbol and everything subsequent
will be moved left.
6.7.4 Modifying Single Samples
Single samples can be modified, e.g., in order to remove clicks. For this purpose, first the
corresponding time period must be zoomed so far that the individual samples become visible as
dots. With the draw tool these samples can be modified or even a whole freehand line can be
drawn.
6.7.5 Separate Recordings into Several Audio Tracks
This function will be useful when e.g. an LP record was recorded in one piece and shall be
separated into individual tracks. This is possible automatically or manually.
For manual separations the corresponding beginnings and ends of the individual parts must be
located. It is advisable to:
1. Display the whole recording ( ) or a sufficiently big selection of it ( ).
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(In this picture a prospective part has already been selected from its beginning to its end.)
2. In order to locate exactly the gaps between the tracks expand the display vertically by clicking
repeatedly with the cursor resp. magnifying glass ( ) on the 0.0 left of the audio track.
In this picture 3 gaps with obvious silence can be recognized.
3. Place a marker ( ) approximately in the silence gap between two parts.
4. Shift this marker to the next gap of silence. Now a time period approximately corresponding
to the part is selected.
5. Use the magnifying glass ( ) to zoom into the area around one edge of the selection.
6. If necessary zoom further vertically to locate the gap of silence more precisely and place the
edge of the selection exactly to the desired location.
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7. Zoom out and repeat this process for the other edge of the selection.
If required the selected time period can be copied now into a new audio track:
1. Edit Copy
2. Tracks Add New Stereo Track
3. Use to jump to the beginning of the audio track.
4. Edit Paste
The selected time period or part as well as the audio track that was copied from it may be
exported as a file. Refer to chapter 6.7.8 „Save an Audio Track or a Part of an Audio Track to File“.
6.7.6 Fade In and Out
Simple fade in and out may be performed by selecting the desired time period to be faded and
then by applying Effect Fade In resp. Effect Fade Out.
More options are available with the envelope tool .
6.7.7 Normalize
When a digital recording is made, considerable headroom should be reserved in order to avoid
overdriving in case of unforeseeable loudness peaks. Only when the recording is finished it is
apparent how much of this headroom was actually used and only then it is possible to
subsequently adjust the recording level so far that the loudest location of the recording reaches
exactly 100% or, as usual, a slightly lower level. This is commonly the case at commercial records
like CDs. Due to the ADICON’s extreme resolution of 24 bits losses in signal quality need not to be
feared. Such losses can only appear at resolutions of 16 bit or less in a very small amount.
Audacity is able to perform this process automatically. First the whole audio track is selected, e.g.,
by clicking into the control section left of the audio track or by selecting all audio tracks by key
ctrl-A. Then normalizing is initiated with Effect Normalize....
Note: At recordings from vinyls clicks or cracks caused by scratches on the surface or
particles in the groove may cause significantly higher signal amplitudes than normal.
Even in this case normalizing would refer to the loudest click or crack but not to the
loudest audio signal.
Such clicks, cracks or crackle may possibly be reduced or removed by changing single
samples (refer to above) or by a click filter, an effect for the advanced users: Effect
Click-Removal.
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6.7.8 Save an Audio Track or a Part of an Audio Track to File
Complete audio tracks may be saved by File Export Audio...to a file. Selected time periods
may be saved by File Export Selected Audio... to a file.
Different compressed and uncompressed audio formats are available. Particularly popular are
e.g. WAV und MP3. Uncompressed 24 bit-audio, the native format of the ADICON, will be saved
when Format: Other uncompressed files Options... Header: WAV (Microsoft) /
Encoding: Signed 24 bit PCM is chosen. Afterwards a variety of meta data may be added if
required.
Due to reasons of patent law the free MP3 encoder Lame needs to be installed subsequently in
order to generate MP3 files. When it is not installed and an MP3 file is to be encoded the process
of installing this encoder is explained.
6.8 Further Functions
As already written Audacity offers much more features than mentioned here. Click through the
menus and submenus and look at the functions. Many of them are self-explaining.
Also have a look at the various settings in Edit Preferences. You will understand many of
them immediately.
For everything else we would like to point to the help function in Audacity as well as to the
descriptions and videos about Audacity in the Internet to learn to know it.
SSB AUDIO GmbH
Sonnenweg 25 – 30827 Garbsen – Germany
www.ssb-audio.com
SSB-Audio, 2015-05-29
SSB-AUDIO.COM
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