American Audio PSX - REV 1-2 Bedienungsanleitung PDF herunterladen (Seite 28)

CONDITION ACTION (press…) LED FLASHES REASON

Fast mode (ie, x2Fs LED lit) ABS x2Fs ABS does not work in FAST mode

Fast mode (ie, x2Fs LED lit) UV22 x2Fs UV22 does not work in FAST mode

Analog Monitor Mode DIG COPY A/D OUT Can’t go directly from Analog Mon to Digital Copy

Digital Copy Mode & hold D/A INPUT DIG COPY Can’t go directly from Digital Copy to Analog Mon

Analog Monitor, DIP1 OFF A/D SYNC TDIF If D/A is TDIF, A/D Sync cannot be DIG IN

(TDIF clock = WC), had been because DIP 1 is set so that the clock for TDIF

on TDIF, A/D SYNC = WC is word clock (DIP 1 = OFF) not LRCK.

Fast mode (ie, x2Fs LED lit) MDM IN x2Fs Can’t change channel routing in FAST

Fast mode (ie, x2Fs LED lit) & hold MDM IN x2Fs Can’t change channel routing in FAST

Digital Copy Mode A/D SYNC DIG COPY A/D SYNC must remain on DIG IN

when in DIG COPY mode

About UV22HR Super CD Encoding

Squeezing more performance from a digital recording is not a new idea. It began with adding white noise, called

dither, to the digital audio. Plain dither was followed by different flavors of dither noise, then a process called

‘noise shaping’, and various forms of so-called ‘bit mapping’. Systems have been introduced that store control

information in the least-significant bits and use a special decoder to recover the data on playback.

Independent listening tests confirm that these systems either color the recordings we are trying to pre-

serve, or compromise the audible noise floor. Encode/decode systems may sound good if they are decoded,

but almost nobody owns a decoder!

Apogee UV22HR Encoding – the latest and most powerful development of Apogee’s original UV22 process

– is an entirely different approach. UV22HR does its job without sonic compromise, and without adding a sound

of its own, preserving the sound stage and tonal balance of the original high-resolution source. The effects are

even audible on original 16-bit recordings.

UV22HR Encoding adds an inaudible, algorithmically-generated concentration of energy around 22 kHz.

Much as the bias on an analog tape recorder smooths out magnetic tape recording non-linearities, UV22HR

silently captures resolution beyond 20-bits on a standard, 16-bit CD. In addition, this inaudible carrier smooths

the rough edges of even the most inexpensive CD player or external converter. UV22HR makes your recordings

sound better on all listening systems. Running already-mastered 16-bit sources through a UV22HR processor

delivers sonic improvements that any user can realize on equipment they already own.

UV22HR is a very special information carrier: it is not a new flavor of dither noise. The truly unique statisti-

cal properties of UV22HR guarantee a constant white noise floor, very similar in character to analog tape noise,

no matter what the input source. If you listen to a UV22HR encoded recording, you can hear a stable, accurate

sound stage and faithful tonal balance more than 24dB into the noise – just as you do on analog tape.

Yet the UV22HR’s low audible noise floor sits at the theoretical limit for a 16-bit system. Nothing is lost –

but a great deal is gained. In listening test after listening test, engineers and reviewers alike choose UV22 over

all other systems. Many thousands of CD titles have already been mastered using Apogee UV1000 Super CD

Encoders, the AD-1000, and the industry-standard AD-8000 and PSX-100. Apogee’s UV22 is today in use in the

vast majority of US mastering houses, and it is estimated that as many as 80% of the hit records mastered in

the United States today utilize UV22.

UV22HR Process Application

UV22HR Encoding is best applied as the final step in the signal chain before the actual mastering device. For

example, if you are mastering a conventional 16-bit CD, but you have the ability to employ higher-resolution

devices earlier in the chain, you should keep your signal at the highest resolution possible until the creation of

the final master tape, and at that point apply UV22HR to reduce the word-length from high-resolution to the

final 16-bit for Compact Disc. If you are recording at high density (long word-lengths, and 88.2/96 kHz or high-

er sample rates) and need to generate a 44.1 kHz 16-bit CD master or a 48 kHz 20-bit DVD-Video master,

first

handle the sample rate conversion at the maximum word length available; then use UV22HR to reduce the

word-length when you have a 44.1/48 kHz signal. Sample-rate conversion is a tricky business at best, and you

need the maximum resolution available when you do it. This is why we do not provide UV22HR at high sample

rates.

PSX-100 User’s Manual

Page 28

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