PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE

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Offline Peter CINERAMAX

NEPTUNE MOONS are not custom state of the art cinemas completely controlled by CINERAMAX, they are honorary moons distinguished by our c0-participation in the deployment of some noteworthy 4k HFR/HDR/3d/4k or 3D audio technological contribution. In This Case as in TRITON is the Quested Atmos thing, but what makes PROTEUS more important is that it is a non holds barred ATMOS certified soundstage facility, designed to show Meyers, how to do high spl Atmos right. Here the master engineers will not need to take Valium and Excedrin  after a weeks' recording session, instead they wll come out feeling relaxed, reinvigorated and ready for more,this regardless if you evaluated your mix at reference level or (if just for kicks) you played it back at reference plus 10. :D

We will be contributing to the design here of the world's ultimate ATMOS sound-stage; designed to outperform all other MEYERS ACHERON based PREMIERE RANK  Atmos Certified facilities...

While in the USA atmos PREMIER certification is not available, worldwide it is for this Meyers has the early market advantage.

This is historic as it gets! The first among many future similarly accoutered facilities (the beiginning of the end of a 90 year old Horn speaker reign). We are proud to be instrumental in laying out a new standard for augmented clarity and very high quality atmos soundtracks curiously notable for their High spl "therapeutically comfortable" extended listening sessions capabilities.

We will go from the Genesis of the LT series instigated by producer Jerry Bruckheimer who asked Quested: "Why is the incredible sound I hear at the Scoring room in Hans Zimmer not preserved to the Sound-stages in Warner and Disney where the sound is sooo harsh?

Stay tuned because just like the Hans Zimmer facility has elevated 7.1 soundtracks to award winning category, our PROTEUS amp/speaker design will elevate Atmos soundtracks to a new level of high spl transparency , realism and musicality, that will benefit the clarity and comfort factor of this content played back in lesser technology speaker systems.

Meyers has brought this upon themselves with their "signature large venue installation" in the seattle cinerama, which has been confused for a QSC run of the mill horn install.

While large venue cinemas are still a challenge for AMT based system due to vertical dispersion the more focused technical soundtages are completely ready for the AMT zero fatigue maximum intelligibility, high spl., speaker topology revolution!

Linkback: http://dci-forum.com/hi-end-cinema-home/11/proteus-first-maximum-accuracy-zero-fatigue-refplus10-dolby-atmos-soundstage/279/
« Last Edit: Fri January 23, 2015, 04:39:42 PM by Peter CINERAMAX »

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: THE FIRST MAXIMUM ACCURACY FATIGUELESS DOLBY ATMOS SOUNDSTAGE
« Reply #1 on: Wed January 21, 2015, 01:32:13 PM »
I have compiled many pictures of Atmos Dubbing Stages.

The sightlines required to clear the Neve console displays permit nearly floor to ceiling screens which I prefer, but the rear desk behind the Neve Console is used for laptops, this is a sightlines monkey wrench. I will give this matter some serious thought because in the age of 4k and 8k, having the screen up in the wall like toronto JBL blu room is wrong in my opinion.

According to insider info the majority of atmos sounstages (with clear exceptions depicted here) are primary 1.85 masked down to 2.35.

Because the flexibility of including Digital Film Formats but also Television atmos content, I think best is to do as big a screen in the 1.77 hdtv aspect ration and keep masking down to 1.85, and 2.35. A top down masking bar where the speakers are always at an optimal angle to the console MLP.

This is my assumption for the Quested system design.

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: THE FIRST MAXIMUM ACCURACY FATIGUELESS DOLBY ATMOS SOUNDSTAGE
« Reply #2 on: Wed January 21, 2015, 01:34:14 PM »
and more...

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: THE FIRST MAXIMUM ACCURACY FATIGUELESS DOLBY ATMOS SOUNDSTAGE
« Reply #3 on: Wed January 21, 2015, 01:36:51 PM »
mas...

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: THE FIRST MAXIMUM ACCURACY FATIGUELESS DOLBY ATMOS SOUNDSTAGE
« Reply #4 on: Wed January 21, 2015, 01:38:52 PM »
+
« Last Edit: Wed January 21, 2015, 01:40:45 PM by Peter CINERAMAX »

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Layout previous example from Room Contractor but on 7.1 Dolby
« Reply #5 on: Wed January 21, 2015, 01:48:51 PM »
We will base the design on these dimensions, and deploy the Z series using dolby atmos guidelines, with surrounds 4'9" from each other center to center.

Track speaker hanging kits like this one will be assumed.

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
« Last Edit: Wed January 21, 2015, 01:54:28 PM by Peter CINERAMAX »

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE
« Reply #6 on: Fri January 23, 2015, 04:41:11 PM »
34 CHANNELS- I WANT TO IMPROVE ON THE QUALITY OF THE DACS, THETA 12 CHANNEL DACS?

28 BIAMPED Z-8'S 300X2, 3 TRIAMPED Z 16'S 950+300+300, 7 QSB18 SUBS LCR +.1ZONE
4 ZUBS IN 2X FOR .2 RIGHT REAR ZONE, 2X FOR .3 LEFT REAR ZONE.
« Last Edit: Sat January 24, 2015, 08:05:16 AM by Peter CINERAMAX »

Offline Paddy

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE
« Reply #7 on: Fri January 23, 2015, 07:18:20 PM »
What about the New 8 Channel Dacs from MSB Technology :

http://www.msbtech.com/products/master.php?Page=platinumHome



« Last Edit: Fri January 23, 2015, 07:21:09 PM by Paddy »

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE
« Reply #8 on: Sat January 24, 2015, 07:44:30 AM »
Hi Paddy these are certainly considerable (like for Europa with D'agostino Cinema Standard) but they would probably break the bank in 32 channels, the Casablanca V 12 channel model is probably a little bit above the right price point at $995  per channel already.

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Neve Atmos Console co-development pedigree....
« Reply #9 on: Thu January 29, 2015, 12:19:31 AM »
The DFC Gemini is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production. With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities including Warner Brothers, Disney, Fox, Skywalker Sound, De Lane Lea and Yash Raj Film. In fact, over 70% of international blockbusters are mixed on the DFC.
 
 
Performance

From the outset, the DFC Gemini was designed for optimum mix performance. At the heart of the console is DSP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1000 audio signal paths at 96kHz, 24 bit in a single, high-resolution DFC signal-processing tower. No other digital post production console can offer the sheer power required to handle the demands of tomorrows content.
 

 
Native Dolby Atmos Mixing

Dolby Atmos is the latest generation of immersive 3D surround sound, initially geared towards commercial cinema but now adapted for the home. By targeting loudspeakers placed in locations around the listener (including ceiling speakers) a sound can be made to feel as though it is coming from anywhere in the room. It is an adaptable, scalable, object based format that represents sound as independent audio elements which during playback are accurately positioned in three dimensional space using the loudspeakers that are available.   
 
AMS NEVE worked in consultation with Dolby for several years before the release of Dolby Atmos giving both teams the opportunity to look collaboratively at how content in this object based format could be efficiently created making it viable for the studios to adopt.
 
The first film natively mixed in the Dolby Atmos format was ‘Oblivion’ this feat was achieved using an AMS NEVE DFC console with both Dolby and AMS NEVE engineers present at the studios of Skywalker Sound to offer advice and support to the mixing crew. Until this point a film would be mixed in a traditional format and later a modified version done for Dolby Atmos where a limited number of sounds would be targeted to objects.

 

Request further information about the surround workflow for Dolby Atmos and Barco Auro 3D formats

Control Surface

To deliver the ultimate mixing experience usability is of paramount importance and AMS Neve’s wealth of experience in ergonomic design has created the most flexible surface in the industry designed to maximise both controllability and feedback to the user.

To accommodate a large number of inputs within a realistic working footprint, the console surface is semi assignable with signal paths and functions such as EQ and Dynamics mapped to provide fast and intuitive operation. Any channel strip can control all the resources on a mono, stereo or up to eight channel inputs.

The control surfaces give instant access to every aspect of routing and monitoring on matter how complex the mix. The channel strip provides total control with the patented touch sensitive Logicator pots, giving instant visual reference to each knob setting. Through ease of use the DFC Gemini has arisen as the market leader in predominantly freelance markets.

Enhanced visual feedback is provided by ViewMix, high resolution TFT monitors, allowing you, for the first time, to see, hear and feel your mix. The most complex setups are now simple to control. WavTrak display of audio track data by channel is the most significant innovation of its type since scrolling waveforms, providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path-by-path basis.

Automation

Encore:2 is the latest generation of the acclaimed Encore automation, delivering revolutionary new Reconform and Mix Import features as well as Automation in Stop and Mix Audition.

Star Command provides effortless control of Pro Tools™, Nuendo, Pyramix™ and Oasis™ systems, including plug ins, from the console surface via HUI™.

Encore:2 Automation Reconform delivers efficient workflow as picture re-cuts go up to the last possible moment. Change lists are taken into Encore:2 and the mix automation re-conformed to match the new cut, significantly reducing the workload on the Mixer and allowing the Director freedom to make creative changes right up to the dub.

Integrated automation re-conform. Integrates with AMS Neve CineFile / AudioFile SCX for simultaneous automation and audio re-conform.
 
AMS Neve DFC Gemini
AMS Neve DFC Gemini

    TFT Channel display
    TFT Master display
    Encore:2 automation system (compatible with 1800 AMS Neve consoles)
    Off-line edit options offering enormous cost savings
    Most powerful DSP engine - Ultra Scale Processing cards – 2000 paths at 96kHz
    Neve EQ, Dynamics and Bass Enhancement plug ins with linked dynamics
    Faster Control Surface
    Expanded 12 Stem Mixing
    MIOS96 new 96kHz I/O system with full remote control
    Complete integrated machine control
    Optional Monitor Facilities Rack
    WavTrak display providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path by path basis.
    Optional CineFile integrated Dubber/Recorder

    View the full imageAMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini

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    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
    AMS Neve DFC Gemini
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<>
Gary Rizzo talks about mixing on the AMS Neve DFC
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“The DFC allows us to spend our valuable mix time making good creative decisions and less time on the technicalities of the mixing interface”
- Gary Rizzo (Skywalker Sound)



Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE
« Reply #10 on: Thu January 29, 2015, 12:25:47 AM »
the mixing console kit, im trying to see how this integrates to the cp-850 and dolby server....

PDF here:

http://ams-neve.com/sites/amsneve/files/products/productsupport/manual/dfcgeminiproductprofile.pdf
« Last Edit: Thu January 29, 2015, 12:41:59 AM by Peter CINERAMAX »

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE
« Reply #11 on: Thu January 29, 2015, 12:49:09 AM »
PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
here is a workflow, but atmos uses a dds server and cp-850 so still don't understand...

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE
« Reply #12 on: Fri January 30, 2015, 02:19:14 PM »
Just got response from Atmos equivalent of God (Andrew P.).

We are trying to figure out how the cinema server and cp-850 tie in to the Neve console. Do you have any sample soundstage diagrams for Atmos? Perhaps the plugins in the console act as a virtual cp-850? We are seeking clarity. A sample MiT laundry list of equipment for a similar facility shows the Dolby server, the Cp-850 and 2 Dac units... I’ve attached a couple of PDFs showing wiring diagrams.  There are obviously a lot of options for you, these examples show how the RMU (rendering and mastering unit) would be patched into the blu-link loop with options where the CP850 or the BSS processor are used to manage legacy audio and where you are using the DAC3201 as an analog output or where you utilize BSS units with AES output cards to send PCM to a D:A conveter.  Please review the attached and let me know if you have any questions.

The online NEVE diagram seems from a television 5.1 architecture.

2)We visited the CINERAMA in Seattle to analyze the acoustical treatments and saw the use of diffusers and BAD panels in rear, have you published guidelines for medium size rooms as to where to use refraction?  Dolby does not have published guidelines for the application of types of acoustical materials in any size room. We generally defer to the project acoustician to select what types of treatments used and the location of the treatments.   

3) Is the home atmos update to the cp-850 still in line for March release 2.21? Yes, it will be software release 2.1 which has a targeted release date of March 1.


4) if I wanted to use some higher end dacs with the cp-850 through a bss blu-madi translator box, how are you handling the volume, digitally at the dac, digitally at the cp-850, in tandem average level, other? This also applies to the Neve console as well as they have their own dacs as well. Refer to the attached document.  You can use BSS product to convert the blu-link signal to AES and then choose which converters you plan to use.  Volume is controlled digitally at the CP850.

5) HDR Dolby Vision, will there be a way to purchase these units for post production, soundstage, and review rooms?  I’ve copied [MY SECRET TO KNOW  :P] on this email chain who can follow up with you regarding Dolby Vision projectors.  SO IT IS POSSIBLE! ;D

Here are the covetted diagrams no one knows about. Nest I will do a bill of materials for such a studio leaving out the Neve console, The Dolby Renderer Modules and the focus rite red net 6, but making Intelligent line of sight recommendations....


« Last Edit: Fri January 30, 2015, 02:43:30 PM by Peter CINERAMAX »

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
studio routing with legacy codecs by-passing cp-850
« Reply #13 on: Fri January 30, 2015, 02:44:57 PM »
legacy tarcks go straight to BSS unit.

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
HERE IS THE RENDERING AND MASTERING UNIT
« Reply #14 on: Sat January 31, 2015, 09:53:13 AM »
PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
worried about the dacs.... these appear to have been around since 2001...
« Reply #15 on: Sun February 01, 2015, 12:26:04 PM »
wondering how these dacs fare against the new theta 12 channel gen 9?

The DAC3201 is 2 years old but could be weak link as it is not to expensive, the MIOS unit from Neve seems a bit old in the tooth.2001.


Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10 DOLBY ATMOS SOUNDSTAGE
« Reply #16 on: Wed February 11, 2015, 11:41:31 AM »
JB if reading: trust me I am fine tuning the necessary changes to the system to reflect 80% of the importance to absolute LCR perfection , then to the transitional screen Heights and widths, this will require approval from Dolby, but since their system is still a work in progress here is a case where engineering will be influencing the creative side to achieve a more smoother and spectacular screen to room transition.
:D

It's all good and coming soon....

I also have determined that the smaller diameter Mundorf amt used in the Z series appears to be more appropriate for midfield than far-field,I don't like anything sounding mid sized, accuse me of overcompensating :D :D, but I want huge soundstage and imaging so... the one speaker pair that impressed me the most in the Moscow penthouse for their capacity to project big sound way into the room,Im talking about chunks of Tony Stark's home flung overhead all the way back "almost hitting the projector" Was the LT-10, I hereby have requested the replacement of the Beyma TPL150 with the new and Improved, higher power handling, low distortion Audiophile grade TPL200..

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE

Pops right  into TPL-150 cutout.

First time Beyma claims suitability for high end systems!

● Superior sound reproduction quality
● Extended frequency response (1 - 23 kHz)
● High sensitivity (101 dB)
● High power handling 240 W program (X-bow
®)
● Extremely linear frequency response
● Ultra low distortion
● Designed for High End systems


TECHNICAL SPECIFICATIONS
Rated impedance              8 Ω
D.C. resistance               4,9 Ω
Power capacity*             120 WAES above 1 kHz
Program power              240 W above 1 kHz
Sensitivity**                    101 dB 1W @ 1m
Frequency range            1 - 23 kHz







« Last Edit: Fri February 13, 2015, 11:41:35 AM by Peter CINERAMAX »

Offline Peter CINERAMAX

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE
Re: PROTEUS: Seems Mola-Mola Dac is the Dac of the future
« Reply #17 on: Fri February 13, 2015, 10:48:34 AM »
Secret Intel confirms Theta is looking to replace their current dacs (super duper  stereophile class a for a decade) by this industry-wide highly anticipated ICONOCLASTIC next gen design, sounds to me we will need a modular 32 channel version for Atmos Premier Rank.

Why use 2001 dacs when you can have 2021 dacs? The field changes too often and NEVE seems too slow to react. Should investigate. Left message at Mola-Mola about 8 channel modular unit.

This also applies to TRITON with the very neutral analytical sounding 32 channel Trinnov altitude's internal dacs (as it applies to LCR where 80 percent of the signal comes out of per SMPTE 2014 study).

The Mola-Mola DAC: Future-Proof by Being Far Ahead.

You probably know the frustration of discovering your DAC has suddenly gone out of date because some new super chip has hit the market. We decided to stay out of that cycle and design, from the ground up, a discrete DAC whose unbeatable staying power results simply from being more than 10 years ahead of the performance curve. There's room enough for improvement: today’s best DAC chip claims no better than 22 bits’ worth of dynamic range and only 20 bits’ worth of linearity. High resolution music deserves better than that. Mola-Mola’s DAC is designed from the ground up using circuits and digital algorithms that were entirely developed in house.

Block Diagram of DAC

PROTEUS: FIRST MAXIMUM ACCURACY ZERO-FATIGUE REF+10  DOLBY ATMOS SOUNDSTAGE


The converter is a three board stack that fits in one of the option slots in the preamp. On the first board, all incoming digital audio is upsampled to 3.125MHz/32 bits and converted to noise shaped PWM. The two remaining boards are mono DACs, in which a discrete 32-stage FIR DAC and a single-stage 4th order filtering I/V converter convert the PWM into analogue with a breathtaking 140dB SNR. This is near the theoretical limit for 24-bit files and far beyond that of even quad-speed DSD. Uniquely, distortion remains below the noise floor even for full scale signals. A quick look at current and historic trends of high-end IC’s indicates that for the foreseeable future this kind of performance will remain unavailable to manufacturers forced to rely on the same “chip du jour” that also powers their competitors’ products.

Even by today’s exacting standards, extraordinary care has been taken deal with jitter. Mola-Mola’s DAC uses a home-grown asynchronous upsampling algorithm whose input frequency measurement slows down rapidly until after a few seconds of lock, the frequency ratio measurement is frozen. Frequency stability is then wholly determined by the internal clock, a laboratory grade 100MHz SC-cut oscillator. This is effectively an atomic clock sans the physics package (which contributes nothing to spectral purity but quite a lot to cost).

Inputs
XLR, Optical, USB and Bluetooth (A2DP)

Supported formats
PCM up to 384 kHz /32 bits (>192 kHz and >24 bits only via USB)
DSD up to quad speed (DDSD and up only via USB)

Performance
Full-Scale Output Level: 20 dBu
Signal to Noise Ratio: 140 dB (standalone version), 130dB (preamp option board)
THD, IMD: not measurable (estimated -150 dB).
Bandwidth: Up to 80 kHz. Choice of sharp or slow upsampling filters, minimum or linear phase.
Integrated jitter: <1 ps from 10 Hz upwards, <300 fs from 1 kHz upwards.
Jitter rejection: >80 dB at 1 Hz after 20 seconds of lock.


« Last Edit: Fri February 13, 2015, 12:52:39 PM by Peter CINERAMAX »