DOCSLIB.ORG

Ghost Brochure 08/98 25/1/02 12:16 Pm Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ghost Brochure 08/98 25/1/02 12:16 Pm Page 1 Ghost Brochure 08/98 25/1/02 12:16 pm Page 1 Ghost Typical Specifications INPUT CHANNEL Console Input/Output circuit types Microphone input Electronically balanced inputs: Sensitivity range for 0VU output...........-8dBu to -60dBu Microphone, Line, Mix B, Stereo Return, 2-Track Maximum input level...................................................+14dBu Unbalanced 75ohms inserts: Channel, Group, Mix Input impedance............................................................2k ohm Unbalanced 75ohms outputs: Channel Direct Common Mode Rejection Ratio Ground Compensated 75ohms outputs: (CMRR) 1kHz Typical figure Group, Studio, Aux, Mix & Mix B .....................................................-90dB @ sensitivity -30dBu Equivalent input noise EIN. TYPICAL CONSOLE PERFORMANCE 22Hz-22kHz measured at insert point Attenuation. All at 1kHz ................................................-128dBu @ sensitivity -60dBu 150 ohm mic input load. Long Fader attenuation ................................................-122dBu @ sensitivity -30dBu From top to bottom.........................................................-90dB MixB rotary fader attenuation Line input From max to min ..............................................................-70dB Mute attenuation Channel & MixB............................-80dB Sensitivity range for 0VU output........+12dBu to -40dBu Pan isolation, ie from left to right..............................-70dB Maximum input level...................................................+34dBu Input impedance..........................................................15k ohm THD+n. (harmonic distortion) Common Mode Rejection Ratio (CMRR) 1kHz................................-60dB @ sensitivity 0dBu 1dB below clipping, 1kHz Mic/Line to Direct output.............................0.002% EQ out Insert send & return .................................................................................0.003% EQ in MixB to Direct out (Swap pressed)...........................0.002% Nominal level.....................................................................-2dBu Maximum level ..............................................................+22dBu Maximum send load .....................................................2k ohm Direct output noise Direct Output level 22Hz-22kHz Mic sensitivity @ -10dB Channel Fader at unity..................................-95dBu EQ out Channel output selected................................................-2dBu .................................................................................-93dBu EQ in Group output selected..........+4dBu/-10dBV link selected Frequency response Tape Return input Mic/Line input to any output .......................20Hz - 20kHz Sensitivity at calibrated centre detent.....................+4dBu .....................................................................................(+0/-0.5dB) Tape trim range .............................................-15dB to +15dB ......................................................................Sensitivity @ 30dB Input impedance.......................................................>24k ohm Common Mode Rejection Ratio Crosstalk (CMRR) 1kHz: ...........................-60dB @ Calibrated detent Mic input to Line input crosstalk.............-100dB @ 1kHz Low Cut Filter Line input to Mic input crosstalk...............-90dB @ 1kHz MixB to Channel crosstalk............................-80dB @ 1kHz Frequency ...........................................................................100Hz Channel to MixB crosstalk............................-75dB @ 1kHz Type of filter ....................................3 pole, 18dB per octave Equaliser section Bus noise 22Hz-22kHz Channel faders down HF Eq. turnover frequency ............................................12kHz Maximum boost/cut...................................................+/- 15dB +4dBu/-10dBV selected to +4dBu LF Eq. turnover frequency................................................60Hz Group outputs 1 to 8 Maximum boost/cut...................................................+/- 15dB Group fader at unity, nothing routed .....................-90dBu HMF Eq. frequency range...........................400Hz to 20KHz 24 channels routed, chan faders down...................-80dBu Q range .............................................................................0.7 to 6 32 channels routed, chan faders down...................-78dBu Maximum boost/cut...................................................+/- 15dB LMF Eq. frequency range..............................25Hz to 1.5kHz Mix outputs L & R mixing for the next millennium Q range .............................................................................0.7 to 6 Mix fader at unity, nothing routed..........................-90dBu SOUNDCRAFT Maximum boost/cut...................................................+/- 15dB 24 channels routed, chan faders down...................-80dBu HARMAN INTERNATIONAL INDUSTRIES LTD. 32 channels routed, chan faders down...................-78dBu CRANBORNE HOUSE, CRANBORNE RD., MASTER SECTION POTTERS BAR, HERTS, EN6 3JN, UK. Nominal levels Dimensions and weights TEL: +44 (0)1707 665000 FAX: +44 (0)1707 660742 Group output level.................+4dBu/-10dBV link selected CH Overall width Weight(kg/lb) EMAIL: [email protected] Group insert level.............................................................-2dBu 24 1059.36mm (41.71”).............................44.0/97 http://www.soundcraft.com Aux output level ..............................................................+4dBu 32 1303.20mm (51.31”) ..........................53.6/118 Mix output level ..............................................................+4dBu 24 exp. 815.52mm (32.11”)...............................33.0/73 SOUNDCRAFT US Mix insert level..................................................................-2dBu AIR PARK BUSINESS CENTER 12 Mix B output level...........................................................+4dBu 1449 DONELSON PIKE CRM/ALT/Headphones level .............+14dBu at maximum NASHVILLE TN 37217, USA. Studio outputs..................................................................+4dBu TEL: 1-615-360-0471 2 Track inputs ...................................................................+4dBu FAX: 1-615-360-0273 Stereo return inputs .......................................................+4dBu Part No. A4; ZL0338 US; ZL0339 Side elevation with optional meterbridge Soundcraft reserve the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 9/98 Ghost Brochure 08/98 25/1/02 12:17 pm Page 3 EVERYTHING YOU EVER WANTED IN A MIXER... AND MORE Designing good audio mixers has never been easy – QUALITY AND VERSATILITY but with the widespread use of ultra-quiet digital recorders, and improvements all through the live and Ghost is a highly versatile 8-bus mixer, packed with facilities for EQ is a crucial part of a mixer, and the EQ on Ghost is designed studio audio chain, today’s mixers have to stand up handling a wide range of recording and mixing applications. without compromise – two fully parametric overlapping mid to closer sonic scrutiny than ever before. At the same Whether for studio or live recording, or mixing for picture, this is bands, with shelving high and low filters. Classic ‘British EQ’, in time, mixing has become less a process that takes a console that offers unparalleled flexibility and value. fact, like that found on Soundcraft’s acclaimed 3200 and Europa place at the console alone, and more one that Ghost is an in-line multitrack mixer with a Mix B path (often consoles. The result is unsurpassed ability to control and correct involves outboard effects, samplers, and called monitor path), as well as the main signal path on each – for creative effect in a recording session, or applying corrective synchronisation of audio and video recorders. It’s a channel strip. It’s called “Mix B” because the architecture of the EQ to an awkward live signal. big task for a mixer to keep in touch with all of that signal routing is much more flexible than that suggested by the Being able to swap main and Mix B inputs, and split the EQ – which is why Soundcraft created Ghost, the term “monitor”, offering many of the features normally found between the two paths, Ghost allows a high degree of control ultimate affordable analogue recording console. only on a main input channel. Unlike many mid-range consoles, over a mix. Professional features on the channel strip include Simply put, Ghost is the only desk that delivers the Ghost doesn’t restrict facilities such as muting and EQ to the individually switchable phantom power, phase reverse and plenty audio precision, quality and all the control features of main channel path. of aux sends – 10 aux busses including 2 stereo pairs in all. a big studio desk without the usual prohibitive price 24 and 32 channel frames are available, providing 56 and 72 There’s level and peak metering on every channel, and both the ticket. inputs respectively at mixdown. In addition, using the 24 channel main and Mix B paths have MIDI muting and PFL, while the main The EQ, for instance, is directly comparable to that of expander unit, a further 48 inputs at mixdown are possible. channel path also offers true solo-in-place. the classic Soundcraft 3200 and Europa consoles. No There’s signal level indication on each channel as standard, plus compromises. an optional meterbridge with 12-segment channel meters and An all-new mic preamp, ProMic, has
Load more

Recommended publications
  • Wired Presentationpro™ Public Address System PA310 Owner’S Manual
    Wired PresentationPro™ Public Address System PA310 Owner’s Manual Shown with optional MB-PA3W wall mounting bracket and TP-30 tripod sold separately califone.com Califone PA310 Rev 01 0214 PA310 PresentationPro™ Owner’s Manual Thank you for purchasing this PresentationPro™ (PA310), the most versatile and portable PA for use in school, business, Houses of Worship and government facilities. We encourage you to visit www.califone.com/registration.php, to register your product for its warranty coverage, to sign up to receive our newsletter, download our catalog, and learn more about the complete line of Califone audio visual products, including portable and installed wireless PA systems, multimedia players and recorders, headphones and headsets, computer peripheral equipment, visual presentation products and language learning materials. Unpacking your PresentationPro™ Contents Inspection and inventory of your system. Check unit carefully a) PA310 Powered Amplifier* for damage that may have occurred during transit. Each PresentationPro™ product is carefully inspected at the b) PI-RC Remote Control and (2) AAA Batteries factory and packed in a special carton for safe transport. c) Quick Start Sheet ALL DAMAGE CLAIMS MUST BE MADE *MB-PA3W mounting bracket sold separately WITH THE FREIGHT CARRIER Notify the freight carrier immediately if you observe any damage the shipping carton or product. Repack the unit in the carton and await inspection by the carrier’s claim agent. Notify your dealer of the pending freight claim. Connections and Functions Warranty Registration NOTE: When first connecting other equipment to “aux in” or “line” in make certain that their power is Please visit the Califone website to register your off and volume control at minimum.
    [Show full text]
  • Loudspeakers and Headphones 21 –24 August 2013 Helsinki, Finland
    CONFERENCE REPORT AES 51 st International Conference Loudspeakers and Headphones 21 –24 August 2013 Helsinki, Finland CONFERENCE REPORT elsinki, Finland is known for having two sea - An unexpectedly large turnout of 130 people almost sons: August and winter (adapted from Con - overwhelmed the organizers as over 75% of them Hnolly). However, despite some torrential rain in registered around the time of the “early bird” cut-off the previous week, the weather during the conference date. Twenty countries were represented with most of was excellent. The conference was held at the Helsinki the participants coming from Europe, but some came Congress Paasitorni, which was built in the first from as far away as Los Angeles, San Francisco, Lima, decades of the twentieth century. The recently restored Rio de Janeiro, Tokyo, and Guangzhou. Companies building is made of granite that was dug from the such Apple, Beats, Comsol, Bose, Genelec, Harman, ground where the building now stands. The location KEF, Neumann, Nokia, Samsung, Sennheiser, Skype, near the city center and right by the harbor proved to and Sony were represented by their employees. be an excellent location both for transportation and Universities represented included Aalto (in Helsinki), the social program. Aalborg, Budapest, and Kyushu. 790 J. Audio Eng. Soc., Vol. 61, No. 10, 2013 October CONFERENCE REPORT A packed House of Science and Letters for the Tutorial Day Sponsors Juha Backmann insists that “Reproduced audio WILL be better in the future.” J. Audio Eng. Soc., Vol. 61, No. 10, 2013 October 791 CONFERENCE REPORT low-frequency performance can still be designed using Thiele- Small parameters in a simulation, and the effect of individual parameters (such as voice coil length and pole piece size) on the system performance can be seen directly.
    [Show full text]
  • ACCESS for Ells 2.0 Headset Specifications
    ACCESS for ELLs 2.0 Headset Specifications The table below outlines features for headsets and recording devices and WIDA’s rationale in recommending those features. Please note that WIDA does not endorse specific brands or devices. Recommended Reason for Recommendation Alternatives not Features Recommended Device: Allows for recording and playback using Separate headphones and Headset the same device. microphone increase the need to ensure proper connection and setup on the computer and thus complicate the testing site set-up. Headset Design: Comfortable when worn for a longer In ear headphones (ear buds) that Over Ear period of time by students of different are placed directly in the ear canal Headphones ages. Weight and size of headphones are more difficult to clean between can be selected based on students’ age. uses by different students. They are Portable headphones are smaller and also not suitable for younger lighter and hence may be suitable for students. Many ear buds come with younger students. Deluxe headphones the microphone attached to the are larger and heavier but have the cord, making capturing the advantage of canceling out more noise. students’ voice more of a challenge. Play Back Mode: The sound files of the assessment are Stereo recorded and played back in stereo. Noise Cancellation Noise cancellation often does not Many headsets with a noise Feature: cancel out the sound of human voices. cancellation feature require a power source (e.g. batteries or USB None connection) and hence complicate the testing site set-up. Type of Connector Some computers have two ports for Many USB-connected headsets Plug: connecting audio-out and audio-in require driver installation, but • Single 3.5 mm separately, while others have one port perform adequately for audio plug (TRRS) for both.
    [Show full text]
  • Headamp 6 Manual
    HeadAmp6 PROFESSIONAL SIX CHANNEL HEADPHONE AMPLIFIER OPERATION MANUAL 1 IMPORTANT SAFETY INSTRUCTIONS – READ FIRST This symbol, wherever it appears, This symbol, wherever it appears, alerts alerts you to the presence of uninsulated you to important operating and maintenance dangerous voltage inside the enclosure. Voltage instructions in the accompanying literature. that may be sufficient to constitute a risk of shock. Please read manual. Read Instructions: Retain these safety and operating instructions for future reference. Heed all warnings printed here and on the equipment. Follow the operating instructions printed in this user guide. Do Not Open: There are no user serviceable parts inside. Refer any service work to qualified technical personnel only. Power Sources: Only connect the unit to mains power of the type marked on the rear panel. The power source must provide a good ground connection. Power Cord: Use the power cord with sealed mains plug appropriate for your local mains supply as provided with the equipment. If the provided plug does not fit into your outlet consult your service agent. Route the power cord so that it is not likely to be walked on, stretched or pinched by items placed upon or against. Grounding: Do not defeat the grounding and polarization means of the power cord plug. Do not remove or tamper with the ground connection on the power cord. Ventilation: Do not obstruct the ventilation slots or position the unit where the air required for ventilation is impeded. If the unit is to be operated in a rack, case or other furniture, ensure that it is constructed to allow adequate ventilation.
    [Show full text]
  • ACP+: DIY Preamp and Headphone Amplifier Project
    ACP+: DIY Preamp and Headphone Amplifier Project At the first Burning Amp Festival in 2007, a young attendee, Nelson Brock and his parents Dana and Liz, displayed a nice pair of loudspeakers using the Pioneer Bofu full range drivers in Voigt enclosures. They were so well received that subsequently the Brock family hosted a DIY audio event called “Speaker Camp”, where a group of enthusiasts showed up on a weekend day and assembled a bunch of them to take home. The success of this inspired the later effort called “Amp Camp”, and I had the opportunity to design the amplifier, referred to as the Amp Camp Amp (ACA), a small single-ended Class A amplifier powered by a desktop switching supply and delivering about 5 watts. This effort was also a success, and years later the ACA kit is still popular at the diyAudio website and has also enjoyed a small upgrade in power and performance. So here we are in 2019, and the people organizing the Burning Amp Festival had the idea of joining an “audio camp” type of event to BAF, and asked me to design a preamp that would also serve to drive headphones. The result is this circuit: The gain stage for each channel resembles a miniature version of the First Watt J2 amplifier, with an input circuit using a differential pair of P channel Jfets Q1 and Q2 biased by a constant current source Jfet Q3, and driving a Common Source Mosfet Q6 which in turn is biased by Mu-Follower Q5. Q5 is controlled by opto-isolator Q4, which sets a DC voltage based on the sum of the currents through Q5 and Q6, keeping that sum constant.
    [Show full text]
  • ADI-2 Pro FS R
    User’s Guide ADI-2 Pro FS R Conversion done right 32 Bit / 768 kHz Hi-Res Audio SteadyClock FS SyncCheck 2 Channels Analog / Digital Converter 4 Channels Digital / Analog Converter AES / ADAT / SPDIF Interface 32 Bit / 768 kHz Digital Audio USB 2.0 Class Compliant 2 Extreme Power Headphone Outputs Digital Signal Processing Advanced Feature Set Extended Remote Control General 1 Introduction ...............................................................5 2 Package Contents .....................................................5 3 System Requirements ..............................................5 4 Brief Description and Characteristics.....................6 5 First Usage - Quick Start 5.1 Connectors and Controls ........................................7 5.2 Quick Start ..............................................................8 5.3 Operation at the unit................................................8 5.4 Overview Menu Structure .......................................9 5.5 Playback................................................................10 5.6 Analog Recording..................................................10 5.7 Digital Recording...................................................10 6 Power Supply...........................................................11 7 Firmware Update.....................................................11 8 Features Explained 8.1 Extreme Power Headphones Outputs ..................12 8.2 Dual Phones Outputs............................................13 8.3 5-band Parametric EQ ..........................................13
    [Show full text]
  • Aero Voice™ Airborne Loudhailer Systems
    AERO VOICE™ AIRBORNE LOUDHAILER SYSTEMS INSTALLATION & USER’S GUIDE PSAIR12A PSAIR22A PSAIR42A Power Sonix, Inc. 122 S. Church St., Martinsburg, WV 25401 USA 304-267-7560; Fax 304-268-8691 www.powersonix.com TABLE OF CONTENTS I. Overview Of Aero Voice Public Address Systems Page 1 Installation Considerations II. Installation Quick Start & Checklist Page 2 Standard Cable Connections Power For The Aero Voice System DC Power From Aircraft Batteries DC Power From Power Sonix 28 V Auxiliary Battery Pack Audio Controller/Remote Control Unit III. Mounting The Amplified Speaker(s) Page 6 PSAIR12 PSAIR22 PSAIR42 IV. Using The Aero Voice System Page 10 Using the Power Sonix Remote Control Unit Interfacing With Cockpit Audio Controllers Live Microphone Pre-Recorded Messages, Tape/Digital Input Standard Sirens Custom Sirens/Sounds V. Maintenance Page 13 Routine Audio Testing Battery Maintenance & Charging VI. Technical Specifications Page 17 VII. Limited 2-Year Warranty Page 18 RMAs Power Sonix Support VIII. Appendix: Drawings & Illustrations IX. Your Dealer/Outfitter Info: ____________________________________________________ Dealer Sales Contact Phone ____________________________________________________ Dealer Customer Service Contact Phone ____________________________________________________ Outfitter/Installation Service Contact Phone 304-267-7560 ____________________________________________________ Power Sonix Factory Support/RMAs Contact © 2006 Power Sonix, Inc. All rights reserved. Page 1 I. Overview Of Aero Voice Public Address Systems Congratulations on your purchase of a Power Sonix public address system. Your aircraft is about to be equipped with the best performing airborne speech projection system in the world today. No other system is as light, as compact, as intelligible, as powerful or as economical as Power Sonix. The Power Sonix “A” series of Loudhailer Systems was specifically developed for those who wish to recess their speakers and amplifiers inside the aircraft for a flush mount.
    [Show full text]
  • HM-4 Owners Manual
    OWNER’S MANUAL POWER PHONES 4 PHONES 3 PHONES 2 PHONES 1 INPUT 1 2 3 4 +12V DC Important Safety Instructions 1. Read these instructions. 13. This device complies with FCC radiation exposure limits set 2. Keep these instructions. forth for an uncontrolled environment. This device should be 3. Heed all warnings. installed and operated with minimum distance 20cm between 4. Follow all instructions. the radiator & your body. 5. Do not use this apparatus near water. 14. This apparatus does not exceed the Class A/Class B 6. Clean only with a dry cloth. (whichever is applicable) limits for radio noise emissions 7. Do not block any ventilation openings. Install in accordance from digital apparatus as set out in the radio interference with the manufacturer’s instructions. regulations of the Canadian Department of Communications. 8. Do not install near any heat sources such as radiators, heat ATTENTION — Le présent appareil numérique n’émet pas de bruits registers, stoves, or other apparatus (including amplifiers) radioélectriques dépassant las limites applicables aux that produce heat. appareils numériques de class A/de class B (selon le cas) 9. Only use attachments/accessories specified by the prescrites dans le réglement sur le brouillage radioélectrique manufacturer. édicté par les ministere des communications du Canada. 10. Refer all servicing to qualified service personnel. Servicing is 15. This device complies with Industry Canada licence-exempt RSS required when the apparatus has been damaged in any way, such standard(s). as power-supply cord or plug is damaged, liquid has been spilled Operation is subject to the following two conditions: or objects have fallen into the apparatus, the apparatus has been (1) this device may not cause interference, and exposed to rain or moisture, does not operate normally, or has (2) this device must accept any interference, including been dropped.
    [Show full text]
  • BTS Pro Bluetooth Wireless Headphones
    Available at: 66audio.com Niamh Dermody Product assets: 66audio.com/media [email protected] MSRP: $129.99 Kimberly Velasco [email protected] Media Kit - BTS Pro Bluetooth Wireless Headphones PRODUCT OVERVIEW: The BTS Pro Bluetooth Wireless Headphones deliver remarkable technology, design and reference-quality sound in a lightweight, ergonomic and accessible package for the sport and active user. Building on traditions that made 66 Audio the choice for sports-style wireless headphones, the BTS Pro shatters records for wireless range, sound design and battery life in the wireless headphone space. Cutting-edge Bluetooth classic and Bluetooth Low Energy (BLE) technology combine on-chip to deliver an immersive user experience, including full control of your headphones from the 66 Audio MotionControl app for iOS. Groundbreaking wireless range pushes you past 100 feet of uninterrupted, latency free music and voice, while a next-generation battery powers through 40+ hours of continuous playback on a single charge. Coupled with the World’s Best Warranty - the BTS Pro is built to deliver. Product Product Highlights Bluetooth 4.2 The World’s Best Wireless Technology Warranty 100+ Feet 40+ Hour Wireless Range Continuous Playback MotionControl Sweatproof, Lightweight Smart App for iOS Sport Design Find My Headphones Customizable Hardware Based EQ Cutting Edge Shown in Electric Green 66 AUDIO Flexible Plastic Sound Engine Product Specifications Latest generation Bluetooth 4.2 (incl. BLE) system on chip (SoC) featuring dual-mode wireless topology for simultaneous data and audio 3D antenna technology for over 100 feet of wireless, uninterrupted range (a world first in a consumer audio product) 40 hours of continuous music playback, 400 hours standby with 90 minute quick charge IPX water resistant, durable and lightweight sport design.
    [Show full text]
  • Vintage Portable Record Player
    Vintage Portable Record Player Deuteranopic Damian interjoin derivatively. Omniscient and hypnogenetic Damien always sleuths straightaway and occurred his firefly. Saw Americanise insubordinately. Some great sound quality vintage portable record player, but often utilized a huge and pitch control the phonograph This date due to the fact that most people record players currently being. Vintage style record turntables offer audiophiles the transmit of both worlds. Record Players Urban Outfitters. Sony wireless turntable to a single button trigger, and diamond stylus that contribute is better tracking, speed and disk braking. The day drive system used here take very solemn and minimizes vibrations so it lessens the distortion in natural sound reproduction. In fact, I would contact the company, free of charge. Though digital music dominates the world at the moment, Stevie Wonder, because those are the most portable. Wonderful way to really looks like a reissue of vintage record player to. People whose original by, making transportation of the player quick fire easy. Phonograph also called record player instrument for reproducing sounds by means override the vibration of a stylus or fever following a jolt on a rotating disc A phonograph disc or record stores a replica of sound waves as a subside of undulations in a sinuous groove inscribed on its rotating surface accelerate the stylus. Aside from its sleek design, but can certainly be transported without too much difficulty. Blue Vintage Vinyl Record Player Turntables & Record. The sound is great on all levels: radio, this player will do all of that work for you. It effort a turntable and it abolish its own stereo systems as well.
    [Show full text]
  • Digital Audio Tapes: Their Preservation and Conversion 1 Smithsonian Institution Archives Summer 2010
    Digital Audio Tapes: Their Preservation and Conversion 1 Smithsonian Institution Archives Summer 2010 Digital Audio Tapes: Their Preservation and Conversion Susan Eldridge, Digital Services Intern Overview Digital Audio Tapes (DATs) are 4mm (or 3.81mm) magnetic tape cassettes that store audio information in a digital manner. DATS are visually similar to compact audio cassettes, though approximately half the size, use thinner tapes, and can only be recorded on one side. Developed by Sony in 1987, DATs were quite popular in recording studios and were one of the first digital recording systems to become employed in archives in the late 1980s and 1990s due to their lossless encoding. Commercial use of DATs, on the other hand, never achieved the same success as the machines were expensive and commercial recordings were not available on DAT. Depending on the tape and machine used, DATs allow four different sampling modes: 32 kHz at 12 bits quantization, and 32 kHz, 44.1 kHz, and 48 kHz at 16 bits.1 All support two-channel stereo recording. Some of the later DATs (before being discontinued) could extend the bit-depth to 24 and up to 98 kHz, however, these tapes were likely rarely playable on other models.2 DATs can run between 15 and 180 minutes in length, one again depending on the tape and quality of the sampling. Unlike some other digital media, DATs do not use lossy data compression, which is important in the lossless transferring of a digital source to a DAT. Sony ultimately discontinued the production of DAT machines in 2005.3 Composition A digital magnetic tape is composed of two primary layers: the base film and magnetic layer.
    [Show full text]
  • Dual-Monaural Preamplifier Owner's Manual
    N0 526 N0 523 DUAL-MONAURAL PREAMPLIFIER OWNER’S MANUAL TABLE OF CONTENTS / ABOUT THIS DOCUMENT TABLE OF CONTENTS About This Document 2 Special Design Features 3 Installation Considerations 4 Unpacking, Placement and Ventilation, Power Requirements, Operating States Getting Started 6 Front-Panel Overview: Rear Panel, Remote Control Overview Quick Setup and Listen 12 Remote Control, Initial Connections Setup Menu 15 Setup Menu Navigation, Input Setup, Volume Control, Power Management and Display, Advanced, Output SSP Setup 20 Troubleshooting 22 Specifications 24 ABOUT THIS DOCUMENT This Owner’s Manual covers unboxing of, familiarization with, and configuration of your preamplifier. This manual will enable you to finely tailor the behavior and performance of the preamp to fit your preferences and the particulars of your equipment and listening room. It is strongly recommended that you follow this manual in the order in which it is written so that you understand safety considerations before configuring this sophisticated preamplifier. 2 N0 526 / N0 523 DUAL-MONAURAL PREAMPLIFIER / OWNER’S MANUAL SPECIAL DESIGN FEATURES SPECIAL DESIGN FEATURES Thank you for purchasing a № 526 or № 523 dual-monaural Features preamplifier. Combining Mark Levinson’s unsurpassed analog • Mark Levinson proprietary discrete, direct coupled, fully performance with flexible system configuration and optional balanced, dual-monaural signal path advanced digital and phono capabilities, these preamplifiers ENGLISH push the reproduction of source material to new levels of • Discrete, balanced R-2R ladder volume controls realism. • Digital inputs: USB asynchronous, AES/EBU balanced, two Architecture Toslink optical, two Coaxial (№ 526 only) The foundation of these preamplifiers is their proprietary • Analog inputs: two balanced, three unbalanced, phono with Mark Levinson discrete, direct-coupled, fully balanced, dual- grounding pin monaural signal path with discrete, balanced R-2R ladder volume controls.
    [Show full text]