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EG-Declaration of Conformity Spezielle Studiotechnik GmbH acc. to the Directives 89/336/EWG and 73/23/EWG We, BEHRINGER INTERNATIONAL GmbH Hanns-Martin-Schleyer-Straße 4 D - 47877 Willich Name and address of the manufacturer or the introducer of the product on the market who is established in the EC herewith take the sole responsibility to confirm that the product: ULTRAMATCH SRC2000 o Type designation and, if applicable, Article-N which refers to this declaration, is in accordance with the fol
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FOREWORD Dear Customer, Welcome to the BEHRINGER ULTRAMATCH and thank you for placing your trust in BEHRINGER products. My most pleasant task is to write this letter to you, because it is the culmination of many months of hard work E for our engineering team. Our daily objective is to be focused on you, the musician and sound engineer, and with that focus in mind, it drives us to reach a goal which is unique, and is the backbone of the BEHRINGER philosophy. It is our philosophy to share our joy
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TABLE OF CONTENT 1. INTRODUCTION ......................................................................................................................7 1.1 Some Words on Digital Sample Rate Conversion ........................................................................... 7 1.2 The AES/EBU and SPDIF Standards ..............................................................................................7 2. THE CONCEPT .........................................................................
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1. INTRODUCTION BEHRINGER ULTRAMATCH is an essential tool for modern recording studios. The importance of digital technology has grown immensely during the past years in home-recording as well as in semi-professional and professional studios. More and more operations are executed on the digital level. As a result, sound engineers and musicians are confronted with a multitude of new connectors, signal leads, and changed standards. Incompatibilities between two different devices are normal, and ve
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Type AES / EBU IEC 958 (SPDIF) Connection XLR RCA / Optical Mode of operation Balanced Unbalanced Impedance 110 Ohms 75 Ohms Level 0.2 V to 5 V pp 0.2 V to 0.5 V pp Clock Accuracy not defined I: ± 50 ppm II: 0,1 % III: Variable Pitch Jitter ± 20 ns not defined Tab. 1.1: Important characteristics of the AES/EBU and IEC 958 standards. Unfortunately, these standards soon became watered-down, since a lot of devices simply did not provide enough space for XLR jacks. In these units, either TRS jacks,
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2. THE CONCEPT The BEHRINGER ULTRAMATCH is an especially flexible device meeting all the requirements of digital appli- cations. Compared to most conventional sample rate converters, the ULTRAMATCH offers much more than mere sample rate conversion, due not only to various options for signal manipulation but also the provision of the complete input and output interface. The front panel of the ULTRAMATCH is strictly functional and has a user-oriented design. The nature of the input signal and the
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+ Note: The ADAT multi-track format is not supported by the ULTRAMATCH and is therefore neither passed through nor converted (ADAT is a registrated trademark of Alesis Corp.). 2.2.4 Wordclock (BNC) The BNC jack on the rear panel allows to connect the ULTRAMATCH to a wordclock source for synchroniza- tion purposes (s. a. 3.3.4). Wordclock signals are normally distributed in network technology, i. e. they are passed through with BNC-T adapters and terminated with appropriate resistor elements. In
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ULTRAMATCH unit A output signal flow input AES/EBU 2 1 1 2 3 3 cable shield Fig.3.1: Balanced Connections (AES / EBU) to the ULTRAMATCH 3.3.2 Unbalanced Coaxial Connections (SPDIF) The figure below shows how to connect the unbalanced inputs and outputs correctly by means of RCA cables. Basically, the connections are identical to unbalanced audio connections in stereo systems, for example when connecting a CD player to an amplifier. Good results have been achieved independently of the selected ca
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3.3.5 Connections with Adapters In some cases, it may be appropriate to connect the inputs and outputs of the ULTRAMATCH to other devices by means of adapter units. For example, if you want to connect two DAT recorders to the ULTRAMATCH at the same time, and each of these recorders features only an SPDIF interface (RCA), you can easily connect one of these recorders to the ULTRAMATCH by means of an RCA-XLR adapter. The figure below shows e. g. the correct wiring of the adapter cables for input c
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4.1.2 LED-Display 781 10 123 1517 19 20 9 11 14 16 18 Fig. 4.3: The Indicators of the LED Display Section 7 SPDIF Indicator. When the SPDIF input is activated, this LED is lit. 8 AES/EBU Indicator. When the AES/EBU input is activated, this LED is lit. 9 OPTICAL Indicator. When the optical input is activated, this LED is lit. 10 ERROR Indicator. When the input signal is faulty, this LED is lit. It indicates several malfunctions such as No Lock, Parity, CRC, Valid, etc. When the LED is lit, the UL
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5. MODE OF OPERATION The ULTRAMATCH is an all-purpose device for modern recording studios. It provides not only sample rate conversion but also format and standard conversion, and additionally allows you to manipulate part of the information transmitted with the audio signal. The ULTRAMATCH features no bypass mode, since input and output signal are practically identical if the same sample rate is applied to both input and output. + Note: Special data formats for backup purposes, that do not cont
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6. APPLICATIONS The universal full-function concept of the ULTRAMATCH allows plenty of applications. It turns out to be an ultimate tool, providing useful solutions for almost any problem. The power of the ULTRAMATCH is accessible via a simple and intelligible user-interface, allowing quick and easy operation. 6.1 Sample Rate Conversion E No matter what kind of material is received, the ULTRAMATCH converts it to a standard format. In every-day studio life, lots of possible applications are imagi
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the model collapses! The mixing console can only lock to one master source, the audio data received from the other device would be processed wrongly since no synchronization data are available. The only thing one would hear is interference. The synchronization requirements in a digital studio can be met by connecting a central sync master. For instance, the mixing console may act as master and controls all other devices by transmitting a reference code (word clock). However, this is only possibl
