digital audio
weiss engineering ltd.
Florastrasse 42, 8610 Uster, Switzerland
+41 1 940 20 06 +41 1 940 22 14
http://www.weiss.ch / http://www.weiss-highend.com
GAMBIT
ADC2
OPERATING MANUAL
Software Version: 3.0
OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER INTRODUCTION
INTRODUCTION
Congratulations on purchasing the Weiss Gambit Series ADC2 A/D Converter !
The ADC2 is a two channel A/D converter designed for most demanding audio applications. It
uses state of the art A/D chips in Weiss Engineering’s proven “correlation technique” configuration, which lowers converter imperfections and
improves the SNR ratio.
For best noise rejection, the analogue input signal
is kept balanced from the input connectors up to
the converter chips. A high quality microphone
preamp is available as a standard feature.
Additionally, there is a built-in digital twosegment compressor / limiter for optimal levelling, employing adaptive release timing, lookahead circuitry and sidechain-oversampling for
mastering-quality dynamics processing.
Large bar graphs, a well thought-out push button
array and uncluttered rotary knobs optimize handling ergonomics.
Summary of ADC2 features:
Inputs
• Two balanced LINE and two MIC inputs on
separate XLR connectors.
Synchronization
• Internal sync selectable 44.1kHz, 48kHz,
88.2kHz, 96kHz, 176.4kHz, 192kHz.
• External sync from Wordsync Input (BNC) or
from AES/EBU input.
• Wordsync output on a BNC connector.
Metering
• One input / output level bargraph per channel
with short peak hold
• One gain reduction bargraph per channel.
• Two over LEDs
• Two numerical displays for peak hold and
level settings.
• Reference for level setting can be altered
Outputs
• AES/EBU on XLR in one or two wire format
• S/PDIF on RCA
• Firewire (to be implemented).
DSP
• MIC input with switchable phantom power.
• Input sensitivity is settable in each channel
independently (or ganged) with two rotary
encoders.
• Line Input sensitivity: -16dBu to +26 dBu.
• Mic Input sensitivity: -54dBu to +6dBu.
• Separate AES/EBU input on XLR for synchro-
nization and/or audio input to the DSP, which
allows for use of the ADC2 for redithering
and limiting of digital signals.
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• POW-R dithering to 16 bits, settable to three
different algorithms according to the POW-R
standard.
• SNR enhancement.
• Level bar graph meter.
• Two segment compressor / peak limiter
• Double-precision 40bit floating-point
processing
OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER OPERATION
OPERATION
ADC2 Block Diagram
Fig. 1 ADC2 Block Diagram Schematic
Input Control Panel
This section describes how to use the input control panel (see Fig. 2).
Fig. 2 ADC2 Input Control Panel
Ganged
For stereo use, press the “ganged” key. This locks
together channel 1 and channel 2 gain and threshold controls. Additionally, if “ganged” is active,
active, the compressor / limiter links1 the
sidechains of the two channels. Typical applications for “ganged” mode are
• stereo (left/right) recordings with two microphones
• stereo insert limiting (during mixdown or
mastering).
If “ganged” is not active, channel 1 and channel 2
settings are independent and the compressor /
limiter works unlinked. Thus the ADC2 can also
be used in a studio recording / mixing environment as dual channel outboard compressor / limiter.
A 3.3ms delay is used by the limiter for preview.
1
“sidechain linking ” means that the same gain reduction is applied
to both channels to avoid corrupting the stereo balance.
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER OPERATION
Digital In
Pressing the “digtial in” key activates the digital
AES/EBU XLR input, the key lights red if active.
As soon as a valid signal is present, the sampling
rate is displayed with the sampling rate keys (see
Fig. 6).
If the digital input stage does not lock to any signal, none of the sampling rate keys are lit.
If the “digital in” key is not lit, the analogue inputs
are selected. To activate the microphone input
for either channel, press the appropriate “mic”
key (if “ganged” is active, pressing one “mic” key
will select microphone inputs for both channels).
Press “+48V” if phantom power is needed.
It is usually advisable to use “low-cut” when recording with microphones. If “low-cut” is lit, low
frequency content (traffic rumble, building tremors, air-condition hum and other low-frequency
air movement like doors opening or closing near
the microphone etc.) is filtered out.
Peak Hold
If “peak hold” is lit, the numeric display shows the
peak hold value (in dBFS) which is selected by the
gain key: “input gain” selects the input peak hold,
“output gain” selects the output peak hold
(“threshold” also selects output peak hold). See
Fig. 1 for positioning of input and output peak
hold in the processing chain.
If input peak hold is selected, values equal to or
above 0.0dBFS are indicated by “>=0”. The
output peak hold however can measure values
above 0.0dBFS because of the internal floatingpoint data format used in the digital signal processor. This is very useful to set the output gain.
Input Gain
If “input gain” is lit, the rotary knobs control the
analogue input sensitivity. This is adjusted in 1dB
steps via a relais controlled attenuator. The selected value is shown in the numeric display.
The level bargraph is switched between input and
output in the same manner as the peak hold.
Thus, if the “input gain” key is lit, the bargraph
displays the input peak meter. If the “output gain”
key is lit, the bargraph displays the ouput peak
meter (settings can be different if “ganged” is not
lit).
Refer to Fig. 1 on p. 3 for positioning of input and
output peak meter in the processing chain.
Note: The reference for the input sensitivity
display can be chosen by the user. For that purpose press and hold the “ganged” key and then
switch the ADC2 on. After a few seconds release
the ganged key. Wait for a few more seconds.
Now you can select the reference with the
righthand knob. This allows to set the reference
to e.g. +4dBu. Factory setting is 0 dBu reference.
When finished press the blinking “peak hold” key.
The setting is retained in non-volatile memory.
Output Gain
If “output gain” is lit, the rotary knobs control the
digital output gain. This gain can be used for optimal gain adjustment and to drive the peak limiter (see below).
The gain ranges from -∞ (off) to +18.0 dB, the
resolution is optimized for fine control around 0.0
dB while still allowing complete fade-out. A special algorithm is used for click-free gain transissions (no “zipper” noise).
To clear the peak hold value, double-click
the “peak hold” key!
Double-click resets both input and output peak
hold.
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER OPERATION
0.0
-6.0
-12.0
+6.0
0.0
-6.0
-12.0
0.0
-6.0
-12.0
+6.0
0.0
-6.0
-12.0
0.0
-6.0
-12.0
+6.0
0.0
-6.0
-12.0
Threshold
If “threshold” is lit, the rotary knobs control the
threshold of the compressor section. The value is
shown in the numeric display. If “peak hold” is
active, the output peak value is displayed.
The ADC2 has a two-segment dynamics compressor. The threshold can only be adjusted for
the compressor section, which has a fixed ratio of
2:1.
The limiter has a fixed ratio of ∞:1 with a fixed
threshold of 0.0 dBFS.
Because the signal before the output gain
never exceeds 0.0dBFS, the limiter is inactive if the output gain is ££££ 0.0dB.
If the threshold is set to 0.0 and the output gain is
below 0.0 the dynamics section is inactive. This
setup is shown in the input vs. output graph in
Fig. 3.
Fig. 3 Compressor with 0.0dB Threshold
To activate the limiter, set the output gain to a
positive value. The boost will drive the signal into
the limiter. The gain reduction applied by the
limiter is visible on the yellow bargraphs.
Fig. 4 Compressor with -3.0dB Threshold
Fig. 5 Compressor with -6.0dB Threshold
The overall gain reduction applied by the compressor / limiter is shown in the yellow bargraph.
Note that the compressor uses auto gain makeup: depending on the threshold, a gain is added
after the compressor to ensure that 0.0 dBFS
input results in 0.0 dBFS output (graphically
speaking, auto gain make-up “fixes” the transfer
curve at the (0.0, 0.0) point).
To soften the transmission from linear to limiter
segment, the compressor can be activated by
adjusting the threshold parameter. Fig. 4 shows a
setting with a threshold of –3 dBFS, Fig. 5 shows
–6 dBFS. The range of possible threshold values is
listed on p. 13.
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER OPERATION
Sync and Dither Control Panel
Fig. 6 ADC2 Sync and Dither Control Panel
Output Frequency
If the analogue inputs are selected (“digital in” is
not lit), the A/D sampling frequency can be set in
the sync source block:
Sampling Frequency
44.1 kHz 44.1 kHz none
48.0 kHz 48 kHz none
88.2 kHz 44.1 kHz sf x 2
96.0 kHz 48 kHz sf x 2
176.4 kHz 44.1 kHz sf x 4
192.0 kHz 48 kHz sf x 4
Table 1 Samplig Frequency Selection
If “digital in” is lit, the sampling frequency keys
display the sampling frequency of the AES/EBU
input signal in the same fashion as is shown in
Table 1.
Sync Source
As can be seen in Fig. 1, the ADC2 can be synchronized externally by other digital devices. It
has two external sync inputs. External sync is only
available for analogue inputs, ie “digital in” key is
not lit.
44.1 / 48 kHz
key
fs x 2 / fs x 4
key
If none of these two keys are lit, the ADC2 uses
internal sync.
POW-r Dither
To requantize the input signal from 24bit to 16bit
format, a special technique is used to avoid distortion, called dithering. Many dithering schemes
are available today, both professional and homebrewed. The ADC2 uses the POW-r scheme,
which is widely regarded as one of the best, if not
the best2, and is used in a variety of digital equipment.
The POW-r scheme offers three different presets
which can be selected with the dither keys “pow-r
1”, “pow-r 2” and “pow-r 3”. The choice should be
based on listening tests and preference of the
recording engineer.
Dithering is in “auto black”3 mode: if digital
zero is detected at the ouput, dithering is
switched off. This ensures that programme
breaks are not filled with dither noise.
“Auto black” mode is not available for analogue
input signals!
Also note the effect of the “DITHER MODE” dip
switch setting in Fig. 1 ADC2 Block Diagram
Schematic. If the dip switch is in the down position, requantisation to 16 bit and dithering is only
applied to the S/PDIF RCA output, whereas the
AES/EBU XLR output still carries all 24bits. This
mode is useful for live recording to a 24bit device
with simultaneous backup to a 16bit device (like
DAT or CD-R). If the dip switch is in the up position, all digital outputs are dithered to 16bits.
If “AES” is lit, the AES/EBU signal at the “DI 1 /
SYNC” input is used for synchronization. If “BNC”
is lit, the wordclock signal connected to
“WORDSYNC in” is used for synchronization.
Both sync inputs have a loop-through ouput to
syncronize other devices.
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2
For press reviews of POW-r visit
www.weiss.ch/whatpresssays.html
3
The term “black” comes from digital image formats, where black is
represented by the value zero.
OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER OPERATION
Why dither?
If the 24bit digital signal is not dithered when recording to 16bit media (e.g. DAT, CD-R etc), it is
truncated instead, which leads to quantization
distortion (similar to clipping distortion). Fig. 7
shows a 24bit sine wave at –85dBFS truncated to
16bit.
Fig. 7 1kHz Sine wave truncated to 16bit
To view the frequency characteristics of the three
POW-r algorithms, refer to POW-R Noise
Spectrum on p. 14.
For more information on dithering in general,
view the article “The Secrets of Dither” at
www.digido.com .
For more POW-r information, please visit
www.weiss.ch/pow-r/pow-r.html .
If the same sine wave is dithered instead of quantized, the quantization distortion disappears and
is replaced by wide band shaped noise, which is
more pleasing to the human ear (Fig. 8).
Fig. 8 1kHz sine wave dithered to 16bit
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER OPERATION
1: AES OUT 2 WIRE
Dip Switches
2: DITHER MODE
3: WSYNC TERM.
4: AES IN TERM.
Fig. 9 Dip switches at the rear of the ADC2
DIP switch summary:
Switch up down
1 2 wire on XLR out-
puts
2 dither setting affects
all outputs
3 WSYNC input on
BNC NOT terminated
single wire on XLR
outputs (both carry
the same signal)
dither setting affects
only RCA output
WSYNC input on
BNC terminated
AES OUT 2 WIRE
If this switch is in the up position, the ADC2 outputs a two-wire signal. Refer to Table 2 and Table
3 to look up exact output configurations depending on this dip switch.
Sampling
Freq.
44.1 kHz 44.1 kHz
48 kHz 48 kHz
88.2 kHz 44.1 kHz
96 kHz 48 kHz
176.4 kHz 88.2 kHz
192 kHz 96 kHz
Table 2 AES OUT 2 WIRE switch in up position
DO1
(XLR 1)
single wire
single wire
left channel
left channel
left channel
left channel
DO2
(XLR 2)
44.1kHz
single wire
48 kHz
single wire
44.1 kHz
right channel
48 kHz
right channel
88.2 kHz
right channel
96 kHz
right channel
DO3
(RCA)
44.1 kHz
single wire
48 kHz
single wire
muted
muted
muted
muted
4 AES/EBU input
NOT terminated
AES/EBU input terminated
Sampling
Freq.
44.1 kHz 44.1 kHz
48 kHz 48 kHz
88.2 kHz 88.2 kHz
96 kHz 96 kHz
176.4 kHz 176.4 kHz
192 kHz 192 kHz
Table 3 AES OUT 2 WIRE switch in down position
DO1
(XLR 1)
single wire
single wire
single wire
single wire
single wire
single wire
DO2
(XLR 2)
44.1kHz
single wire
48 kHz
single wire
88.2 kHz
single wire
96 kHz single
wire
176.4 kHz
single wire
192 kHz
single wire
DO3
(RCA)
44.1 kHz
single wire
48 kHz
single wire
88.2 kHz
single wire
96 kHz
single wire
176.4 kHz
single wire
192 kHz
single wire
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER OPERATION
DITHER MODE
This switch determines how dither is applied to
XLR and RCA outputs. Refer to chapter POW-r
Dither on p. 6 for further information.
WSYNC TERM.
If the “WORDSYNC in” is not connected to another device (via a T-connector), this dip switch
must be in the down position, in which case the
signal is properly terminated.
If another unit is connected to the “WORDSYNC
in”, this dip switch must be in the up position.
Regardless of input synchronization type, the
“WORDSYNC out” always carries the word sync
used by the ADC2.
AES IN TERM.
If the loop-through output of the “DI 1 / SYNC”
input is not connected to another device, this dip
switch must be in the down position, in which
case the line is properly terminated.
If another unit is connected, this dip switch must
be in the up position.
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER TECHNICAL DATA
TECHNICAL DATA
Analogue Line Inputs
2 channels, symmetrical, not earth free, on two XLR female connectors, pin 2 hot.
Input Impedance > 5kOhm
Analogue Microphone Inputs
2 channels, symmetrical, not earth free, on two XLR female connectors, pin 2 hot.
Input Impedance > 5kOhm
48V phantom power switchable
AES/EBU Input
Input fs range: 44.1kHz
48.0kHz
88.2kHz
96.0kHz
176.4kHz
192.0kHz
All sampling frequencies must lie within +- 100ppm of the nominal sampling frequency.
Maximum Input Wordlength: 24 Bits
Connector: XLR female
Impedance: 110 Ohm
AES/EBU Output
Output fs range: 44.1kHz
48.0kHz
88.2kHz
96.0kHz
176.4kHz
192.0kHz
Maximum Output Wordlength: 24 Bits
Channel Status Data: Professional format
Connector: two times XLR male
Impedance: 110 Ohm
Format: single wire or double wire for fs higher than 48kHz
(switch selectable)
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER TECHNICAL DATA
S/PDIF Output
Output fs range: 44.1kHz
48.0kHz
88.2kHz
96.0kHz
176.4kHz
192.0kHz
Maximum Output Wordlength: 24 Bits
Channel Status Data: Professional format
Connector: RCA female
Impedance: 75 Ohm
WORDSYNC I/O
Input Connector: BNC female
Input Impedance: 75 Ohm
Input Level: TTL
Output Connector: BNC female
Output Impedance: 4.7 Ohm
Output Level: TTL
Firewire
Not implemented in software versions 1.0 – 3.0
Power
Mains Voltage: 110 / 220 Volts with voltage selector
Fuse rating: 0.63A slow blow
Power Consumption: 60VA max.
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER TECHNICAL DATA
Low cut frequency response:
1st order highpass, 3dB point at 40Hz
Frequency Response:
@ fs = 44.1kHz: 20Hz ... > 20kHz +- 0.3dB
@ fs = 48.0kHz: 20Hz ... > 20kHz +- 0.3dB
@ fs = 88.2kHz: 20Hz ... > 30kHz +- 0.3dB
@ fs = 96.0kHz: 20Hz ... > 30kHz +- 0.3dB
@ fs = 176.4kHz: 20Hz ... > 40kHz +- 0.3dB
@ fs = 192.0kHz: 20Hz ... > 40kHz +- 0.3dB
THD+N @ 1kHz:
less than -103 dBFS @ -3 dBFs output level, unweighted
SNR @ -40dBFS input:
> 110dB unweighted
Linearity:
t.b.d.
Crosstalk:
< -120dB, 0..20kHz
CMRR:
> 90dB @ 1kHz
> 80dB @ 20kHz
> 60dB @ 20Hz
Interchannel phase tracking:
Better than +- 0.3°, 20Hz to 20kHz
All measurements taken at the least sensitive setting of the input attenuators, i.e. +26dBu sensitivity for line
and +6dBu sensitivity for mic inputs. (= sensitivity for 0dBFS output level).
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER TECHNICAL DATA
Parameter Tables
Analogue Gain Line Input [dB]:
-26.0, -25.0, -24.0, -23.0, etc. in 1dB steps to +16.0
(example: with a gain setting of -26.0, a +26dBu input signal generates a 0dBFS output)
Analogue Gain Mic Input [dB]:
-6.0, -5.0, -4.0, etc. in 1 dB steps to +54.0
(example: with a gain setting of -6.0, a +6dBu input signal generates a 0dBFS output)
Digital Output Gain [dB]:
-100.0 , -92.0 , -89.0 , -86.0 , -83.0 , -80.0 , -77.0 , -74.0 , -71.0 , -68.0 , -65.0 , -62.0 , -59.0 , -56.0 , -53.0 , -
50.0 , -48.0 , -46.0 , -44.0 , -42.0 , -40.0 , -39.0 , -38.0 , -37.0 , -36.0 , -35.0 , -34.0 , -33.0 , -32.0 , -30.0 , -
29.5 , -29.0 , -28.5 , -28.0 , -27.5 , -27.0 , -26.5 , -26.0 , -25.5 , -25.0 , -24.5 , -24.0 , -23.5 , -23.0 , -22.5 , -
22.0 , -21.5 , -21.0 , -20.5 , -20.0 , -19.5 , -19.0 , -18.5 , -18.0 , -17.5 , -17.0 , -16.5 , -16.0 , -15.5 , -15.0 , -
14.5 , -14.0 , -13.5 , -13.0 , -12.5 , -12.0 , -11.5 , -11.0 , -10.5 , -10.0 , -9.5 , -9.0 , -8.5 , -8.0 , -7.5 , -7.0 , -
6.5, -6.0 , -5.8 , -5.6 , -5.4 , -5.2 , -5.0 , -4.8 , -4.6 , -4.4 , -4.2 , -4.0 , -3.8 , -3.6 , -3.4 , -3.2 , -3.0 , -2.8 , -2.6 ,
-2.4 , -2.2 , -2.0 , -1.8 , -1.6 , -1.4 , -1.2 , -1.0 , -0.8 , -0.6 , -0.4 , -0.2 , 0.0 , 0.2 , 0.4 , 0.6 , 0.8 , 1.0 , 1.2 , 1.4,
1.6 , 1.8 , 2.0 , 2.2 , 2.4 , 2.6 , 2.8 , 3.0 , 3.2 , 3.4 , 3.6 , 3.8 , 4.0 , 4.2 , 4.4 , 4.6 , 4.8 , 5.0 , 5.2 , 5.4, 5.6, 5.8 ,
6.0 , 6.2 , 6.4 , 6.6 , 6.8 , 7.0 , 7.2 , 7.4 , 7.6 , 7.8 , 8.0 , 8.2 , 8.4 , 8.6 , 8.8 , 9.0 , 9.2 , 9.4 , 9.6 , 9.8 , 10.0 ,
10.2 , 10.4 , 10.6 , 10.8 , 11.0 , 11.2 , 11.4 , 11.6 , 11.8 , 12.0 , 12.2 , 12.4 , 12.6 , 12.8 , 13.0 , 13.2 , 13.4 ,
13.6 , 13.8 , 14.0 , 14.2 , 14.4 , 14.6 , 14.8 , 15.0 , 15.2 , 15.4 , 15.6 , 15.8 , 16.0 , 16.2 , 16.4 , 16.6 , 16.8 ,
17.0 , 17.2 , 17.4 , 17.6 , 17.8 , 18.0
Compressor Threshold [dBFS]:
-25.0 , -24.8 , -24.6 , -24.4 , -24.2 , -24.0 , -23.8 , -23.6 , -23.4 , -23.2 , -23.0 , -22.8 , -22.6 , -22.4 , -22.2 , -
22.0 , -21.8 , -21.6 , -21.4 , -21.2 , -21.0 , -20.8 , -20.6 , -20.4 , -20.2 , -20.0 , -19.8 , -19.6 , -19.4 , -19.2 , -
19.0 , -18.8 , -18.6 , -18.4 , -18.2 , -18.0 , -17.8 , -17.6 , -17.4 , -17.2 , -17.0 , -16.8 , -16.6 , -16.4 , -16.2 , -
16.0 , -15.8 , -15.6 , -15.4 , -15.2 , -15.0 , -14.8 , -14.6 , -14.4 , -14.2 , -14.0 , -13.8 , -13.6 , -13.4 , -13.2 , -
13.0 , -12.8 , -12.6 , -12.4 , -12.2 , -12.0 , -11.8 , -11.6 , -11.4 , -11.2 , -11.0 , -10.8 , -10.6 , -10.4 , -10.2 , -
10.0 , -9.8 , -9.6 , -9.4 , -9.2 , -9.0 , -8.8 , -8.6 , -8.4 , -8.2 , -8.0 , -7.8 , -7.6 , -7.4 , -7.2 , -7.0 , -6.8 , -6.6 , -
6.4 , -6.2 , -6.0 , -5.8 , -5.6 , -5.4 , -5.2 , -5.0 , -4.8 , -4.6 , -4.4 , -4.2 , -4.0 , -3.8 , -3.6 , -3.4 , -3.2 , -3.0, -2.8 ,
-2.6 , -2.4 , -2.2 , -2.0 , -1.8 , -1.6 , -1.4 , -1.2 , -1.0 , -0.8 , -0.6 , -0.4 , -0.2 , 0.0
Sampling Rate [kHz]:
44.1, 48.0, 88.2, 96.0, 176.4, 192.0
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OPERATING INSTRUCTIONS FOR GAMBIT ADC2 24Bit / 192kHz A/D CONVERTER TECHNICAL DATA
POW-R Noise Spectrum
Fig. 10 shows the noise spectrum of the three POW-R algorithms at 44.1 and 88.2 kHz.
Fig. 10 Output spectrum with 80dBFS / 1kHz sine wave, dithered to 16 Bits, using the three POW-R algorithms at 44.1kHz and 88.2kHz
respectively
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