Universal Audio 2192 User Manual
Model 2192
Master Audio Interface
Universal Audio Part Number 65-00036
Universal Audio, Inc.
Customer Service & Tech Support: 1-877-MY-AUDIO
Business, Sales & Marketing: 1-866-UAD-1176
www.uaudio.com
FCC Compliance
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to
part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful
interference in a residential installation.
This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is
no guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or television reception, which can be determined by
turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the
following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.
Caution: Changes or modifications not expressly approved by Universal Audio could void the user’s authority to
operate the equipment.
Notice
This manual provides general information, preparation for use, installation and operating instructions for the
Universal Audio 2192.
The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no
warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of
merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors
contained herein or direct, indirect, special, incidental, or consequential damages in connection with the
furnishing, performance, or use of this material.
Copyright
© 2008 Universal Audio, Inc. All rights reserved.
This manual and any associated software, artwork, product designs, and design concepts are subject to
copyright protection. No part of this document may be reproduced, in any form, without prior written permission
of Universal Audio, Inc.
Trademarks
2192, 1176LN, 2-1176, 6176, LA-2A, 2-LA2, LA-610, LA-3A, 2-610, 710, 4110, 8110, SOLO/110, SOLO/610,
DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. ADAT® is a
registered trademark of Alesis Corporation. Other company and product names mentioned herein are trademarks
of their respective companies.
Contents of This Box
This package should contain:
• One Model 2192 Master Audio Interface
• 2192 Operating Instructions
• IEC Power Cable
A Letter From Bill Putnam, Jr.
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Thank you for purchasing the Model 2192 Master Audio Interface, the first product to combine
Universal Audio’s long history of high-quality vintage analog gear with advanced digital technology.
The 2192 is the perfect two-channel master audio interface for every digital studio. It performs both analog
to digital (A/D) and digital to analog (D/A) conversion and provides a high-quality master clock source and
clock distribution for your entire studio. The internal digital clock of the 2192 was designed for extreme
stability and jitter-free operation, and its onboard phase aligned clock conditioner circuitry removes jitter
from external sources, so conversion quality is unaffected by clock source. Two separate word clock inputs
are provided, as well as AES/EBU, S/PDIF, and ADAT S-MUX inputs, and any of these can be used as
external clock sources. Four parallel word clock outputs allow the 2192 to be used as a master clock source
without the need to daisy-chain or cascade the clock through external devices.
The heart and soul of the 2192 is the analog circuitry used in its A/D and D/A converters. The analog signal
path uses DC-coupled, fully dual-differential, matched-FET, all discrete Class-A circuitry, resulting in
ultra-low noise, excellent transient response, and unmatched sound. No capacitors or DC servos are used
in the signal path since these degrade audio quality and image stability and introduce phase distortion.
Our no-compromise approach and extensive history in analog and digital circuit design ensure that your
converted signals are totally accurate and of the highest possible fidelity.
Analog signals are converted to digital in full 24-bit format, at sampling rates of up to 192kHz. During A/D
conversion, the digital signal is output to all digital outputs (AES/EBU, S/PDIF, or ADAT S-MUX)
simultaneously. Audio digitized at sample rates of 176.4 or 192kHz is carried over AES/EBU in single- or
dual-wire mode, and ADAT optical I/O utilizes S-MUX interleaving. The S/PDIF specification, which includes
192kHz 24-bit audio, is fully implemented. The 2192 D/A converters can also be set to output the signal
directly from the A/D converters, thus enabling “true confidence” analog monitoring of the digitized signal.
Digital to analog conversion is supported just as comprehensively. Any of the 2192 digital input sources
can be converted to analog, with selectable clock source: internal clock, the digital audio source signal, or
an external clock source separate from the digital audio. D/A conversion is always accomplished at the
sample rate of the digital audio source signal, even if the 2192 is synchronized to an external clock source
that is running at a multiple or submultiple of the digital audio sample rate. The 2192 can also transcode
(convert) digital audio between AES/EBU, S/PDIF, and ADAT S-MUX in real time, using any of the available
clock sources. Multi-segment LED bargraph metering is provided for all analog inputs and outputs, with
timed peak-hold digital overload (input) and digital peak (output) indicators. Finally, an internal universal
auto-sensing, filtered, multi-stage regulated power supply supports 100-240VAC and 50-60Hz power for
trouble-free operation world-wide.
Most of us at Universal Audio are musicians and/or recording engineers. We love the recording process, and
we really get inspired when tracks are beautifully recorded. Developing the Model 2192—as well as
Universal Audio’s entire line of quality digital and analog audio products designed to meet the needs of the
modern recording studio while retaining the character of classic vintage equipment—has been a very
special experience for me and for all who have been involved. While, on the surface, the rebuilding of UA
has been a business endeavor, it’s really been so much more than that: in equal parts a sentimental and
technical adventure.
We thank you, and we thank my father, Bill Putnam.
Sincerely,
Bill Putnam, Jr.
Important Safety Instructions
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Before using this unit, be sure to carefully read the applicable items of these operating instructions and the
safety suggestions. Afterwards, keep them handy for future reference. Take special care to follow the warnings
indicated on the unit, as well as in the operating instructions.
1. Water and Moisture - Do not use the unit near any source of water or in excessively moist environments.
2. Object and Liquid Entry - Care should be taken so that objects do not fall, and liquids are not spilled, into
the enclosure through openings.
3. Ventilation - When installing the unit in a rack or any other location, be sure there is adequate ventilation.
Improper ventilation will cause overheating, and can damage the unit.
4. Heat - The unit should be situated away from heat sources, or other equipment that produce heat.
5. Power Sources - The unit should be connected to a power supply only of the type described in the
operating instructions, or as marked on the unit.
6. Power Cord Protection - AC power supply cords should be routed so that they are not likely to be walked
on or pinched by items placed upon or against them. Pay particular attention to cords at plugs,
convenience receptacles, and the point where they exit from the unit. Never take hold of the plug or cord
if your hand is wet. Always grasp the plug body when connecting or disconnecting it.
7. Grounding of the Plug - This unit is equipped with a 3-wire grounding type plug, a plug having a third
(grounding) pin. This plug will only fit into a grounding-type power outlet. This is a safety feature. If you
are unable to insert the plug into the outlet, contact your electrician to replace your obsolete outlet. Do
not defeat the purpose of the grounding-type plug.
8. Cleaning - Follow these general rules when cleaning the outside of your 2192:
a. Turn the power Off and unplug the unit
b. Gently wipe with a clean lint-free cloth
c. If necessary, moisten the cloth using lukewarm or distilled water, making sure not to oversaturate it
as liquid could drip inside the case and cause damage to your 2192
d. Use a dry lint-free cloth to remove any remaining moisture
e. Do not use aerosol sprays, solvents, or abrasives
9. Nonuse Periods - The AC power supply cord of the unit should be unplugged from the AC outlet when left
unused for a long period of time.
10. Damage Requiring Service - The unit should be serviced by a qualified service personnel when:
a. The AC power supply cord or the plug has been damaged: or
b. Objects have fallen or liquid has been spilled into the unit; or
c. The unit has been exposed to rain; or
d. The unit does not operate normally or exhibits a marked change in performance; or
e. The unit has been dropped, or the enclosure damaged.
11. Servicing - The user should not attempt to service the unit beyond that described in the operating
instructions. All other servicing should be referred to qualified service personnel.
Table of Contents
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A Letter From Bill Putnam, Jr. ..................................................................................................................
Important Safety Instructions .................................................................................................................
Two Page, Two Minute Guide To Getting Started ......................................................................................
Front Panel ...............................................................................................................................................
Rear Panel ................................................................................................................................................
Interconnections .....................................................................................................................................
Typical Mastering Setup ...........................................................................................................
Typical DAW Setup .....................................................................................................................
Typical 8-Track Pro Tools HD Setup ..................................................................................................
Applications ..............................................................................................................................................
Analog to Digital Conversion ......................................................................................................
A/D Conversion Using Internal Clock ....................................................................
A/D Conversion Using External Clock .......................................................................
Digital to Analog Conversion ......................................................................................................
D/A Conversion Using Internal Clock ...................................................................
D/A Conversion Using Digital Audio Source Clock .................................................
D/A Conversion Using External Word Clock ............................................................
D/A Conversion of AES/SPDIF Audio Using ADAT Clock .......................................
D/A Conversion of ADAT Audio Using AES/SPDIF Clock ........................................
Transcoding (Converting Digital Formats) .................................................................................
Transcoding Using Internal Clock ...........................................................................
Transcoding Using Digital Audio Source Clock ......................................................
Transcoding Using Alternate Clock .......................................................................
The Technical Stuff ................................................................................................................................
History of the 2192 ...................................................................................................................
Digital Audio Clocking Primer ...................................................................................................
2192 Overview .............................................................................................................................
2192 Circuitry .............................................................................................................................
Maintenance Information...........................................................................................................
Line Trim Procedure ...................................................................................................
Output Level Meter Calibration .........................................................................................
Ground Isolation Jumpers / Fuse / Voltage Selector ......................................................
Block Diagram ............................................................................................................................
Dynamic Range and Frequency Response Diagrams ...................................................................
Glossary of Terms ..................................................................................................................................
Recall Sheet .............................................................................................................................................
Specifications ........................................................................................................................................
Additional Resources / Product Registration / Warranty / Service & Support
..................................................................................................... Inside back cover
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The Two Page, Two Minute Guide To Getting Started
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No one likes to read owner’s manuals. We know that.
We also know that you know what you’re doing—why else would you have bought our product?
So we’re going to try to make this as easy on you as possible. Hence this two-page spread, which we
estimate will take you approximately two minutes to read. It will tell you everything you need to know to
get your Universal Audio 2192 up and running, without bogging you down with details.
Of course, even the most expert of us has to crack a manual every once in awhile. As the saying goes,
“as a last resort, read the instructions.” You’ll find those details you’re craving—a full description of
all front and rear panel controls, interconnection diagrams, history, theory, maintenance information,
block diagrams, specifications, even a glossary of terms—in the pages that follow.
Getting Started With Your 2192:
Step 1: Decide where the 2192 is to be physically placed and place it there. The 2192 is housed in a
standard single-rackspace 19" chassis, and so we recommend that it be securely mounted in a rack
if possible. Because it can run hot, be sure the 2192 side ventilation panels are not blocked. We also
recommend leaving at least a single empty rack space above and below the 2192 for adequate
ventilation.
Step 2: Mute your monitors and then, using a balanced cable with XLR connectors, connect the 2192’s
rear panel analog line inputs and outputs to the appropriate inputs and outputs on your patch bay,
mixer, or DAW.
Step 3: Using the appropriate digital cables, make interconnections between the 2192’s rear panel
digital inputs and outputs (word clock, AES, SPDIF, and/or ADAT) and compatible digital hardware in
your studio. (see pages 12 - 13 for suggested interconnection diagrams)
Step 4: Make sure the Power switch is off (down position) and then connect the supplied IEC power
cable to the rear panel AC power connector.
Manual conventions:
Means that this is an especially useful tip
Means that this is an especially important bit of information
And when we need to direct you to a page or section elsewhere in the manual, we’ll use the universal signs
for rewind () or fast forward ()
Mute your monitoring system before applying power to the 2192 and interconnecting it
with other equipment.
The Two Page, Two Minute Guide To Getting Started
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Step 5: In addition to providing a high-quality master clock for your entire studio (or distributing an
external clock to your digital equipment), the 2192 can be used for a variety of functions, including
analog to digital (A/D) conversion, digital to analog (D/A) conversion, and transcoding (converting
between different digital formats). Detailed instructions are given on pages 15 - 24 in this owners
manual for each application. Refer to the list below for step-by-step directions in setting up your 2192
and interconnected equipment for each of these functions:
• A/D Conversion Using Internal Clock - page 15
• A/D Conversion Using External Clock - page 16
• D/A Conversion Using Internal Clock - page 17
• D/A Conversion Using Digital Audio Source Clock - page 18
• D/A Conversion Using External Word Clock - page 19
• D/A Conversion of AES/SPDIF Audio Using ADAT Clock - page 20
• D/A Conversion of ADAT Audio Using AES/SPDIF Clock - page 21
• Transcoding Using Internal Clock - page 22
• Transcoding Using Digital Audio Source Clock - page 23
• Transcoding Using Alternate Clock - page 24
Step 6: Power on the 2192. After a delay of approximately 2 seconds (during which the 2192 power
conditioner circuits perform their initial calibrations), the Power lamp (immediately above the Power
switch) will light blue and the Clock Status lamp will light green (if the 2192 is successfully locked to
the selected clock source) or red (if unlocked).
Step 7: Unmute your monitors and, at the source device, slowly raise the level of the selected input
signal. You should now be hearing signal, with the 2192 input and output meters becoming active.
Step 8: Experiment with different front panel switch and knob settings until you are familiar with their
operation and functionality. You’ll undoubtedly discover lots of new uses for your 2192!
For more information, refer to the “Front Panel” and “Rear Panel” sections on pages
4 - 11 of this manual.
Because signals are briefly interrupted when new settings are applied, do not change any
front panel knob or switch settings during recording or whenever conversion or
transcoding is actively occurring.
The 2192 does not have a master volume control, therefore you must connect it to a mixer
or other device that has a volume control.
Front Panel
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(1) Input Level Meters - This pair of LED level meters indicates the signal strength of the stereo
analog inputs relative to the calibrated 0dBFS level. ( see page 31 for more information)
(2) Output Level Meters - This pair of LED level meters indicates the signal strength at the stereo
analog outputs relative to the calibrated 0dBFS level. ( see page 31 for more information)
(3) Clock - This five-position knob specifies the 2192 master clock source, as follows:
Internal - When the Clock knob is set to Internal, the internal clock of the 2192 is used. At this
setting, all clock inputs on the rear panel are ignored, and the internal sampling rate is determined by
the Sample Rate Select knob. ( see #4 on page 6)
Word 1 - When the Clock knob is set to Word 1, the digital clock signal present at the Word 1
BNC input on the rear panel ( see #9 on page 10) is used as the master clock.
Word 2 - When the Clock knob is set to Word 2, the digital clock signal present at the Word 2
BNC input on the rear panel ( see #10 on page 10) is used as the master clock.
AES/SPDIF - When the Clock knob is set to AES/SPDIF, the digital clock signal present at the
rear panel AES digital input or SPDIF digital input ( see #2 on page 9 and #6 on page 10) is used
as the master clock, as determined by the setting of the AES/SPDIF switch. ( see #7 on page 7).
At this setting, the sample rate is determined by the digital input alone, with the setting of the Sample
Rate Select knob ignored. ( see #4 on page 6)
ADAT - When the Clock knob is set to ADAT, the digital clock signal present at the ADAT optical
digital input on the rear panel ( see #11 on page 10) is used as the master clock.
When the Clock knob is set to Word 1, Word 2, or ADAT, the Sample Rate Select knob
( see #4 on the following page) specifies the multiple or submultiple of the clock rate
that is used internally. ( see the table on the following page for more information)
Front Panel
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Note that the clock source can be independent of the signal used for digital to analog conversion.
For example, you could select AES/SPDIF as the clock source but perform D/A conversion on the
incoming ADAT optical signal by setting the Analog Outputs DAC Source Select knob ( see #6 on
page 7) to ADAT.
The 2192 sample rate is always determined by the Clock and Sample Rate Select knobs
except when the clock source is set to AES/SPDIF, in which case the sample rate of the
incoming signal is automatically detected and used.
The 2192 can be used for distribution of various clocks by connecting multiple clock
sources to the rear panel, then using the Clock knob to switch between them.
Front Panel
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(4) Sample Rate Select - This six-position knob selects the sample rate used for A/D and D/A
conversion. Sample rates of 44.1, 48, 88.2, 96, 176.4, and 192kHz are all supported by the 2192.
The function of the Sample Rate Select knob varies according to the setting of the Clock knob.
(see #3 on page 4)
• When the Clock knob is set to Internal, the Sample Rate Select knob determines the
master clock frequency.
• When the Clock knob is set to AES/SPDIF, the Sample Rate Select knob has no effect.
(The 2192 automatically detects and uses the sample rate of the incoming AES or SPDIF
signal.)
• When the Clock knob is set to Word 1, Word 2, or ADAT, the 2192 sample rate is defined by
a combination of the external clock rate and the Sample Rate Select knob. In this mode,
the Sample Rate Select knob selects a multiple or submultiple of the external clock rate,
as follows:
When the external And the Sample Rate The 2192
clock rate is: knob is set to: sample rate is:
44.1 kHz
44.1 or 48
44.1 kHz (1 x external clock)
44.1 kHz
88.2 or 96
88.2 kHz (2 x external clock)
44.1 kHz
176.4 or 192
176.4 kHz (4 x external clock)
48 kHz
44.1 or 48
48 kHz (1 x external clock)
48 kHz
88.2 or 96
96 kHz (2 x external clock)
48 kHz
176.4 or 192
192 kHz (4 x external clock)
88.2 kHz
44.1 or 48
44.1 kHz (1/2 x external clock)
88.2 kHz
88.2 or 96
88.2 kHz (1 x external clock)
88.2 kHz
176.4 or 192
176.4 kHz (2 x external clock)
96 kHz
44.1 or 48
48 kHz (1/2 x external clock)
96 kHz
88.2 or 96
96 kHz (1 x external clock)
96 kHz
176.4 or 192
192 kHz (2 x external clock)
176.4 kHz
44.1 or 48
44.1 kHz (1/4 x external clock)
176.4 kHz
88.2 or 96
88.2 kHz (1/2 x external clock)
176.4 kHz
176.4 or 192
176.4 kHz (1x external clock)
192 kHz
44.1 or 48
48 kHz (1/4 x external clock)
192 kHz
88.2 or 96
96 kHz (1/2 x external clock)
192 kHz
176.4 or 192
192 kHz (1 x external clock)
(5) Clock Status lamp - When the 2192 is locked (synchronized) to a clock source, the Clock Status
lamp glows green. The lamp glows red when the clock is not locked. The clock is always locked when
the Clock knob (see #3 on page 4) is set to Internal. For the clock to be locked when the clock
The 2192 does not perform sample rate conversion!
When AES/SPDIF is selected as the clock source, the Sample Rate Select knob is ignored
and the 2192 instead uses the sampling rate of the incoming AES or SPDIF digital signal.
Front Panel
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source is external, a clock signal must be present at the input selected by the Clock knob. Note: After
the Power Switch is turned on, the Clock Status lamp stays off for about 12 seconds while the 2192
power conditioner and analog conversion circuits perform their initial calibrations.
(6) Analog Outputs DAC Source Select- This three-position knob specifies the digital source for the
D/A converters and the analog outputs, as follows:
AES/SPDIF In - When the Analog Outputs knob is set to AES/SPDIF In, either the AES or the
SPDIF digital input signal ( see #2 on page 9 and #6 on page 10) is routed to the D/A converters
and analog outputs, depending on the position of the AES/SPDIF switch. ( see #7 below)
ADAT In - When the Analog Outputs knob is set to ADAT In, the digital signal from the ADAT
optical input ( see #11 on page 10) is routed to the D/A converters and analog outputs. The S-MUX
mode is determined by the Sample Rate Select knob. (see #4 on the previous page)
ADC - When the Analog Outputs knob is set to ADC, the signal appearing at the analog inputs
( see #13 on page 11) is routed to the analog outputs, via both the A/D converters and D/A
converters, for “true confidence” monitoring.
(7) AES/SPDIF switch - This switch specifies whether the AES or SPDIF digital inputs are used when
the Clock knob (see #3 on page 4), Analog Outputs DAC Source Select knob (see #6 above), or
Digital Outputs Source Select knob ( see #9 on page 8) is set to AES/SPDIF. When the button is
pressed in, the SPDIF input signal is used. When the button is out, the AES input signal is used. Both
the AES and SPDIF digital outputs are always active.
The clock must be locked for proper A/D and D/A conversion and for transcoding.
The 2192 cannot lock to an external device that is set to slave to the 2192!
If the clock won’t lock when the Clock knob is set to an external source, verify that the
external device is connected to the proper digital input and that it is transmitting a clock
Front Panel
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(8) Single/Dual switch - The Single/Dual switch specifies whether AES/EBU Single Wire or Dual Wire
mode is used. ( see page 28 for more information) When the button is pressed in, AES/EBU Dual
Wire mode is used. When the button is out, AES/EBU Single Wire mode is used. Note: This switch has
no effect on the SPDIF input. However, the SPDIF output will transmit the same signal as the AES “A”
output. ( see #3 on page 9 and #6 on page 10)
(9) Digital Outputs Source Select - This three-position knob specifies the signal that is routed to the
digital outputs. The signal source selected here will be routed to all digital outputs (AES, SPDIF, and
ADAT optical) simultaneously. This knob is normally set to ADC during all operations except
transcoding. ( see pages 23 - 24 for more information)
AES/SPDIF In - When the Digital Outputs knob is set to AES/SPDIF In, the digital signal
arriving at the rear panel AES or SPDIF digital input ( see #3 on page 9 and #6 on page 10) is
routed to all digital outputs, as determined by the setting of the AES/SPDIF switch. (see #7
on page 7)
ADAT In - When the Digital Outputs knob is set to ADAT In, the digital signal arriving at the
rear panel ADAT optical digital input ( see #11 on page 10) is routed to all digital outputs.
ADC - When the Digital Outputs knob is set to ADC, the signals arriving at the rear panel
analog inputs ( see #13 on page 11) are converted and delivered to the digital outputs.
(10) Power lamp - The Power Lamp glows blue when the proper AC voltage is connected and the
power switch is in the up (I) position. Note that, after the Power Switch is turned on, the Power Lamp
stays off for about two seconds while the 2192 power conditioner circuits perform their initial
calibrations.
(11) Power switch - Turns the 2192 power on or off. Power is on when the switch is in the up (I)
position. Approximately two seconds after turning power on, the Power Lamp lights blue. When the
switch is down (O), AC power is completely disconnected from the internal power supply, and only the
safety ground remains connected to the chassis.
Neither the AES/SPDIF switch nor the Single/Dual switch has any effect unless the Clock,
Digital Outputs Source Select, and/or Analog Outputs DAC Source Select knobs are set to
AES/SPDIF.
If the Power Lamp does not come on after the initial two-second delay, check that the
2192 is connected to a 100-240VAC 50-60Hz AC power source. If the power still does not
come on, it is possible that the internal protection fuse has blown, in which case the 2192
needs to be serviced by a qualified service technician.
Rear Panel
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(1) AC Power Connector - Connect a standard, detachable IEC power cable (supplied) here. The third
grounding pin is connected to the chassis internally.The 2192’s auto-sensing, multi-stage filtered,
universal power supply accepts input power from 100VAC to 240VAC, at 50Hz to 60Hz. ( see page
38 for more information)
(2) AES Digital Input A - This female XLR connector (pin 2 hot) receives incoming 24-bit stereo
AES/EBU digital audio signal of up to 192kHz from compatible hardware. This input can be used for
either digital audio with clock or for digital clock only. When the Clock knob (see #3 on page 4) is
set to AES/SPDIF and the Digital Outputs knob (see #9 on page 8) is NOT set to AES/SPDIF, the
audio portion of the signal is ignored. When the 2192 is operating in Dual Wire mode, the left channel
of audio is received here. ( see page 28 for more information)
(3) AES Digital Output A - This male XLR connector (pin 2 hot) transmits 24-bit stereo AES/EBU digital
audio signal of up to 192kHz to compatible hardware. When the 2192 is operating in Dual Wire mode,
the left channel of audio is transmitted here. ( see page 28 for more information)
(4) AES Digital Input B - When the 2192 is operating in Dual Wire mode, this female XLR connector
(pin 2 hot) receives the right channel of incoming 24-bit 176.4 or 192kHz AES/EBU digital audio
signal. When the 2192 is operating in Single Wire mode, this input is ignored. ( see page 28 for
more information)
(5) AES Digital Output B - When the 2192 is operating in Dual Wire mode, this male XLR connector
(pin 2 hot) transmits one channel of 24 bit 176.4 or 192kHz AES/EBU digital audio signal. When the
2192 is operating in Single Wire mode, this output duplicates the signal being transmitted over AES
Digital Output A ( see #3 on the previous page), but is electrically independent. ( see page 28
for more information)
Rear Panel
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(6) S/PDIF Digital Input - This phono (RCA) connector accepts incoming 24-bit S/PDIF digital audio
signals of up to 192kHz from compatible hardware (the copy-protection, pre-emphasis, and
consumer/professional bits are ignored). This input can be used for either digital audio with clock or
for digital clock only. When the Clock knob ( see #3 on page 4) is set to AES/SPDIF and the Digital
Outputs Source Select knob ( see #9 on page 8) is NOT set to AES/SPDIF, the audio portion of the
signal is ignored. ( see page 29 for more information)
(7) S/PDIF Digital Output - This phono (RCA) connector transmits 24-bit S/PDIF digital audio signals
of up to 192kHz to compatible hardware. The copy protection bit and pre-emphasis bits are cleared,
and the consumer/professional bit is set to “professional.” ( see page 29 for more information)
(8) Word Clock Outputs - These four electrically independent standard 75-ohm BNC connectors
transmit independent high-quality word clock at the frequency specified by the Sample Rate Select
knob. ( see #4 on page 6) Four outputs are provided so the 2192 can be used as the master clock
source for multiple devices simultaneously without cascading the clock through external devices,
which can degrade the signal. The word clock signal on each of the four outputs is identical and is
phase aligned to the clock source to allow cascading multiple units without sample skew. ( see
page 29 for more information)
(9) Word Clock Input 1 - This standard 75-ohm BNC connector receives word clock input for external
synchronization when the Clock knob ( see #3 on page 4) is set to Word 1. ( see page 29 for
more information)
(10) Word Clock Input 2 - This standard 75-ohm BNC connector receives word clock input for external
synchronization when the Clock knob ( see #3 on page 4) is set to Word 2. ( see page 29 for
more information)
(11) ADAT Optical Input - This optical connector receives digital ADAT optical data from external
hardware devices. ADAT input can be used for either digital audio with clock or for digital clock only.
When the Clock knob ( see #3 on page 4) is set to ADAT and the Digital Outputs Source Select knob
( see #9 on page 8) is NOT set to ADAT, the audio portion of the signal is ignored. ( see page 29
for more information)
Rear Panel
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(12) ADAT Optical Output - This optical connector transmits digital ADAT optical data to external
hardware devices. ( see page 29 for more information)
(13) Analog Line Inputs - Analog signals are input to the left and right channels of the 2192 A/D
converter via these balanced line-level female XLR connectors. Pin 2 is hot. For unbalanced operation,
Pin 3 can be grounded. The analog inputs are factory calibrated so that an analog input level of
+4dBu will output a -18dBFS digital signal, for 18dB of headroom before digital clipping occurs.
( see page 30 for more information)
(14) Analog Line Outputs - Analog signals are output from the left and right channels of the 2192 D/A
converter via these balanced line-level male XLR connectors. Pin 2 is hot. For unbalanced operation,
Pin 3 can be grounded, and the output level will be attenuated by 6db. The analog outputs are factory
calibrated so that a digital signal level of -18dBFS will output an analog level of +4dBu, for 18dB of
headroom. The line outputs can drive high or low (600ohm) impedance inputs with no changes in level.
( see page 30 for more information)
(15) Line Output Trims - These trims are used to calibrate the left and right analog line outputs.
( see page 35 for calibration procedures ) Differential shunt attenuation is used to maintain
maximum signal and conversion integrity. ( see pages 35 - 37 for more information)
(16) Line Input Trims - These trims are used to calibrate the left and right analog line inputs.
( see page 35 for calibration procedures ) Differential shunt attenuation is used to maintain
maximum signal and conversion integrity. ( see pages 35 - 37 for more information)
Interconnections
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Typical Mastering Setup
Typical Digital Audio Workstation Setup
Interconnections
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Typical 8-Channel Pro Tools HD Setup
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