Benchmark DAC-1 [复制链接]

shuanger88 在 2005-5-27 23:52:02 发表的内容 leslie 在 2005-5-27 17:18:23 发表的内容 这是在台湾相当少见的瑞士Weiss DAC 1 如果说DAC数字声感太重 那您肯定没听过Weiss的DAC Weiss的特点是温厚却不失解析 完成度一样很高的DAC 在家用市场并不多见....因为长相不够Hi-End的关系(不够美) 不过这是见人见智的东西 当然分辨率往上比是比不上DCS的955 不过......Weiss在国外pro studio Eng.的眼中是和Manley,Focusrite同等声音级数的东西 以上所言为同行前辈所言之大略 [upload=jpg]Upload/200552717172939544.jpg[/upload] RAXEL兄了解否？ 麻烦问下这台weiss的型号和价钱？谢谢

WEISS DAC-1啊：）
用家感言
DAC1

"This is without any doubt the best D/A so far. The immunity to jitter is so good that it´s impossible to hear any difference when clocking from my Sonic Solutions or using the DAC1 in Master Clock mode."
Goran Finnberg, The Mastering Room, Sweden

" .... Interestingly, my clients in the past week have all commented on "how good" the speakers sounded, including some folks who had previous projects mastered here. The difference is the DAC-1. I would have to stray into totally subjective terms to describe my impressions. My client who's CD was the first I did using the new DAC said it was the most open and transparent CD he had ever made (and it's his 20th CD!)."
Barry Corliss, Master Works, Seattle


"I found that the DAC1 had a very clear, even balance that I felt very comfortable with. My clients love it."
Bob Boyd, Ambient Digital, Houston


"Took delivery of a DAC1 earlier this week. Sounds stunning! .... Just wanted to drop a line and say thank you."
Randy LeRoy, Finalstage Mastering, Nashville


"Received the DAC1 last Wednesday. A lovely piece of electronics. You all did a nice job on this unit as expected. Sounds very smooth, full and transparent. Worked this weekend on a modern-classical-new-age-type album and the DAC1 worked and sounded great."
Ted Carson, MusicLane Mastering,Toronto


"I've received number 3 almost two weeks ago and although I've been listening to [well known high end pro audio brand] the past years being very happy with it, I can only say this one beats it. For the first time in my digital mastering career I have the distinct feeling I am finally hearing what is really on the tapes and CD's delivered to me."
Maarten de Boer, The Masters, Netherlands


"I set-up a demo to one of Hong-Kongs largest consumer audio distributors [...] they all had a "jaws dropping" experience. He said after listening to the DAC-1, all other audiophile consumer DACs seem without carrying any bass. All aspects are outstanding, not only high resolution but musical as well."
Kent Poon, [KDA]2 Mastering,Toronto





这里有他的家用品介绍，WEISS MEDEA满贵的
http://bbs.hifi168.com/bbs/article.asp?titleid=32697&ftdate=20030707&ntypeid=10

Weiss DAC1 Converter Review
by Dr. Frederick J. Bashour
Dufay Digital Music
Leverett, MA 01054
Introduction
The DAC1 is a top-of-the-line digital to analog converter from Daniel Weiss Engineering
of Switzerland. The version tested accepts inputs at 44.1, 48, 88.2, and 96
kHz., and double-samples data input at the lower sample rates via DSP to one of the
two higher ones, before subsequent 4x upsampling within its D/A chip. A Mk. II version
will be available by May, 2002 which includes a second AES receiver for dual-wire
176.4 and 192 kHz conversion, but is otherwise identical to the review sample.
General Overview
The Weiss DAC1 is both simple to use and extremely flexible in interfacing possibilities.
There are four inputs梩hree on XLR connectors and one on Toslink optical?
and each is selected by its own large lighted front panel pushbutton. Each of the three
AES/EBU XLR inputs is actively routed to a corresponding XLR digital output, producing
a 則hru?connection suitable for monitoring at multiple stages within a digital
studio setup, or other recording, monitoring, or routing possibilities. Three front panel
LEDs display input wordlength (1-16, 17-20, 21-24 bits).
The Weiss engineering philosophy of combining several signal reclocking
schemes has produced extremely high jitter attenuation, leading the firm to boast that
the DAC1 is virtually immune to jitter frequencies from fractions of a Hertz up to tens
of kHz. While earlier models of the DAC1 included a clock output on one pin of a rear
panel DB15 connector梕nabling the unit to be set to act as a clock master條ater units,
as well as the DAC1Mk.II, omit this feature, as no audible improvement was said to be
heard as a result of master clock operation. I was, unfortunately, unable to test this
feature on my review unit, but can state without reservation that I have never heard
cleaner sound from any DAC梬ith or without master clock mode.
Particular attention was paid to the analog output stage, designed with the aim
of keeping as uncompromised an audio signal path as possible. The unit抯 discrete
Class A outputs present an extremely low output impedance, but never showed a bit of
instability in driving various loads梚ncluding 50 meter cables with unbalanced termination?
in my studio. The output level can be switched between 刪igh?or 刲ow?
mode, and the symmetrical circuit can swing +27dBu.
Certain pins on the aforementioned rear-panel DB15 connector can accommodate
two external mono or one single stereo potentiometer for remote level control; other
pins can control source selection with LED illumination. The remote level control takes
place in the digital domain, and is properly dithered to avoid quantization artifacts.
2
The DAC1 runs quite warm梕specially on the right side, and should be ventilated
adequately.
In Use
First the bad news, then the good news. When I received the unit, I didn抰 think I
liked its sound at all. Two months later, I purchased the review sample! What happened
during that time period involved a certain amount of 別ar-training?on my part,
and a re-evaluation of my monitoring system.
I have owned an extremely expensive so-called state-of-the-art audiophile DAC
since 1988梐 Wadia 2000梬hose hardware, firmware, and power supply had been
continually updated by Wadia throughout the late nineties. As I received newer pro
audio converters for review during the past several years, I always compared them to
my Wadia reference unit and, ultimately, found them all lacking in one or more subjective
parameters. The dCS 954 was the first unit I tested which gave my Wadia serious
competition but, for various reasons, I passed on its possible purchase.
When the DAC1 arrived for review, I was about to do an interesting 刬nternational
violin band?session for the United Nations here in Studio Dufay, so I quickly
patched it in and, during and after that three-day session, alternated between it and the
Wadia. The latter sounded warm and euphonically pleasant, while the Weiss sounded
bright, scratchy, and a bit 刾hasey.?I impulsively pronounced it inferior, and went on
to other matters.
A month later梩he morning after the first day of a week-long 96 kHz multi-track
session I was recording for Dorian桰 was playing my rough mixes at the studio and
was a bit underwhelmed by the sound from the Wadia. I idly flipped to the DAC1抯
position on my monitor selector, and my mouth fell wide open! Here was the sound I
had heard live on my Stax headphones and Dynaudio BM6As the evening before. I
switched back and forth between Wadia and Weiss and slowly realized that the Weiss?
sound was clear, warm, crisp, true, airy, open, relaxed梐ll the proper audiophile jargon,
while the Wadia抯 was closed, murky, boomy and veiled.
What was going on here? I continued to use the Weiss DAC1 as reference DAC
during that session (at which I was recording the early music 剆uper-group,?Fortune抯
Wheel, at Mount Holyoke College抯 Abbey Chapel), even to the extent of bringing it
along to substitute for the DAC section of the Apogee PSX-100 I was using as my
剅ough mix?A/D-D/A converter. Each time I listened to the Weiss unit, I liked it
more.
A few weeks later, after I had finished the first edit of that project, I had time to
revisit my U.N. violin recording. It had been a 剄uick and dirty?session, with recording,
mixing, and editing happening simultaneously. I went back to my original multitrack
master and listened to each stereo pair. Yikes! One of them did sound screechy
and, since my quick direct-to-analog mix did not incorporate any of the delay compensation
I always add when I have the luxury of mixing 刟fter the fact?within software, a
certain phasiness was definitely present.
3
To make a long story short, I learned that the Weiss DAC1 is a true monitoring
tool. If something sounds wrong through it, it is wrong! And if a source sounds really
nice, then one should pat oneself on the back. I had apparently been monitoring for
many years with a DAC which tended to 刬mprove?(via sins of omission) many of its
sources and which梚n the final analysis梙ad been lying to me.
Conclusion
My experience with the Weiss DAC1 has taught me many valuable lessons about
audio and auditory perception. As I embark on my latest recording system upgrade (to
Merging Technologies?Pyramix and 192 kHz multi-track), I am extremely grateful that I
have finally found a stereo monitoring DAC which will 則ell it like it is?while still rewarding
me with a 刵ice?sound梐s long as I抳e done the footwork and presented it
with a good recording in the first place. Thus, the ball is back in my court!
Dr. Fred Bashour holds a Yale Ph.D. in Music Theory, and currently performs as a jazz pianist
and church organist, in addition to working as a classical music producer/engineer and consultant
to university music libraries on the digital storage of course listening materials. During the
past 25 years, he has received credits on hundreds of recordings released on over a dozen labels.
He is also a contributor to Audio Media.

Benchmark DAC 1

FEATURES AND PERFORMANCE
• Two Channel, 24-bit, 192-kHz, D-to-A Conversion
• Plays 192-kHz with 52-kHz analog bandwidth
• Direct connection to powered monitors
• Totaljitter immunity via UltraLock™technology!
• 116 dB signal-to-noise ratio @ 48-kHz, A weighted
• THD+N = -107 dB (0.00045%) measured at
-3 dBFS, any sample rate, any test frequency
• AES, S/PDIF, and Toslink inputs
• Digital input source-selection switch
• Variable or preset output level controls
• Balanced Low-Z XLR outputs
• Unbalanced RCA outputs
• Automatic de-emphasis for 44.1, 48, and
96-kHz when pre-emphasis bit is set
• Headphone amp = 0.0003% THD into 60 Ω
• Output-off switch position for headphone-only use
• Front panel power and error indicating LEDs
• Internal low-radiation toroidal power supply
• International 120 - 240 input voltage range
• 1/2 wide, 1RU high chassis
• Machined aluminum front panel
• Rack mount kit available
The DAC1 is a two-channel, 24-bit, 192-kHz Digital-to-Analog
audio converter. It is, perhaps, one of the more significant recent
advances in digital-audio conversion technology.
Listening to audio from the DAC1 is an absolutely truthful
experience. The distortion free output is so pristine you can now
hear detail which was previously masked by jitter induced artifacts
and distortion. If the recording was exceptional, you’ll hear it; if it
wasn’t, you’ll hear that as well.
The DAC1 is a 192-kHz converter, and will playback 192-kHz
signals with a 52-kHz analog bandwidth. THD+N is an
astonishing low -105 dB (0.00056%) measured at 0 dBFS, and
-107 dB measured at -3 dBFS – at any playback frequency, at
any sample rate, and with any degree of input jitter.
The secret? UltraLock™ technology.
Additional features include: phase-coherence between units,
auto-detection and processing of pre-emphasized digital audio,
and an ultrahigh performance HPA-2 headphone amplifier with
dual outputs. The DAC1 has an internal, international toroidal
power supply.
The front panel level-control always adjusts the headphone output
level. The front panel level-control can also be selected to adjust
the output levels at the rear of the converter. Alternately, the output
levels can be set at a fixed gain with precision, rear panel; 10-turn
trim pots. The balanced output level range is +10 dBu to +29 dBu at
0 dBFS.
The DAC1 is essential equipment for mastering and recording
studios, broadcast facilities, even audiophile home stereo
installations, and all locations that require uncolored monitoring.
Call today for pricing and availability.

DAC1
2-Channel, 24-bit, 192-kHz, Digital-to-Analog Converter
BENCHMARK MEDIA SYSTEMS, INC.
5925 Court Street Road
Syracuse, NY 13206-1707
315-437-6300 Phone, 315-437-8119 Fax
www.benchmarkmedia.com ...the measure of excellence!™
082903
Audio Performance:
SNR – A-Weighted, (0 dBFS = +20 to +29 dBu): 116 dB
SNR – Unweighted, (0 dBFS = +20 to +29 dBu): 114 dB
SNR – A-Weighted at low gain, (0 dBFS = +9 to +18 dBu): 114 dB
THD+N, 1-kHz at 0 dBFS: -105 dBFS, -105 dB, 0.00056%
THD+N, 1-kHz at –1 dBFS: -107 dBFS, -106 dB, 0.00050%
THD+N, 1-kHz at –3 dBFS: -110 dBFS, -107 dB, 0.00045%
THD+N, 20 - 20-kHz tone @ –3 dBFS: -110 dBFS, -107 dB, 0.00045%
Frequency Response at Fs=48-kHz: +/- 0.1 dB (20 to 20-kHz)
-0.02 dB at 10 Hz
-0.20 dB at 20 kHz
Frequency Response at Fs=96-kHz: +/- 0.1 dB (20 to 20-kHz)
-0.02 dB at 10-Hz
-0.20 dB at 20-kHz
-0.85 dB at 40-kHz
-2.50 dB at 45-kHz
Crosstalk: -100 dB at 20-kHz
-125 dB at 1-kHz
-130 dB at 20-Hz
Maximum Amplitude of Jitter Induced Sidebands: < -141 dB
(10-kHz @ 0 dBFS test tone, 12.75 UI sinusoidal jitter at 1-kHz)
Maximum Amplitude of Spurious Tones with 0 dBFS signal: < -126 dB
Maximum Amplitude of Idle Tones: < -128 dB
Maximum Amplitude of AC line related Hum & Noise: < -126 dB
Interchannel Differential Phase (Stereo Pair): ± 0.5° at 20-kHz
Interchannel Differential Phase (DAC1s): ± 0.5° at 20-kHz
Maximum Lock Time – after Fs change: 100 mS
Soft Mute Ramp Up/Down Time: 10 mS
Mute on Receive Error: Yes
Mute on Lock Error: Yes
Mute on Idle Channel: No
50/15 uS De-Emphasis Enable: Automatic in Consumer Mode
De-Emphasis Method: Digital IIR
De-Emphasis Supported at: Fs = 32, 44.1, 48, and 96-kHz
Delay from digital input to analog output:
2.72 ms at 28-kHz
2.51 ms at 32-kHz
2.10 ms at 44.1-kHz
2.01 ms at 48-kHz
1.55 ms at 88.2-kHz
1.51 ms at 96-kHz
1.45 ms at 108-kHz
Power
Input Operating Voltage Range – VAC RMS
115 V setting – 90 V min, 140 V max, 50-60 Hz
230 V setting – 175 V min, 285 V max, 50-60 Hz
8 Watts Idle, 8 Watts Typical Program, 16 Watts Maximum
Dimensions:
½ Rack Wide, 1 RU High
8.5” (216 mm) Chassis Depth
9.33” (237 mm) Overall depth
9.5” (249 mm) Wide
1.725” (44.5 mm) High
Weight:
DAC1 only: 3.5 lb.
DAC1 with cord and accessories: 4.5 lb.
Rack mount kit 0.32 lb.
Shipping weight: 7 lb.

FISHER啊，WAYNED也有一个哦！！

楼上能上图吗？？

Small But Serious
Apogee MiniAC D/A converter
By Frank Moldstad
Page 1 of 1

Apogee MiniAC is a compact but mighty digital-to-analog (D/A) converter that can lift sonic veils from your digital audio playback. It might even cause people to look under your desk for the rack full of converters, because something this small shouldn sound this good. But it does, delivering startlingly detailed playback -- as if there no onversion?going on at all.

Roughly the size of an oversized paperback book, this stereo device will handle just about anything you throw at it, including sampling frequencies up to 24-bit/192kHz. It can be digitally connected via AES, optical, S/PDIF, S/MUX or an optional USB I/O card. Best of all, the MiniAC is a multipurpose device. Although it's designed for portability, its conversion quality puts it right at home in a studio. Analog outputs include balanced XLR jacks and an 1/8?jack for consumer-level stereo (standard 1/8?to RCA cable required). A 1/4?headphone jack is included, and the 1/8?jack is also able to drive headphones. [an error occurred while processing this directive]A companion piece to Apogee 2003 TEC-Award winning Minie A/D converter (reviewed here earlier), the two devices work together like a tag team. Between them, you can transform even an ordinary laptop into a serious audio production center. The Minie converts the incoming analog signals to digital, and the MiniAC converts the outgoing digital signals back to analog for playback. High quality in, high quality out.

USB connectivity is the key to portability, and it works smoothly on both Macs and PCs. (If you shied away from earlier implementations of USB for audio, you should give it another chance -- USB 2.0 devices are much better, not to mention the new computer operating systems.) Apogee provides special USB drivers for its Mini series devices, which it recommends that you use (although word is that Apple's Panther OS recognizes it out of the box). The company web site also has some tips about optimizing both Macs and PCs for USB operation (http://www.apogeedigital.com/downloads/usb_notes.html). I hooked the MiniAC by USB to both an Athlon-powered PC and a Mac G4, and got great-sounding playback with low latency on both platforms.

Although I didn't try it with a laptop, the USB option makes the MiniAC a natural for client presentations. You could just connect it to a laptop and some powered monitors to get better quality audio than most people have in their homes. USB connectivity also has other benefits: You can interface any non-USB device with a computer by using the MiniAC igital-thru mode?(see illustration above).


Front panel (click image for larger view)
The MiniAC interface is straightforward and sort of Twenties retro clean, with the same brushed aluminum box and purple knobs as the Mini-Me. At the center left is the Input Selector knob, where you must select the correct input source, whether it's AES, optical, S/PDIF or USB. Otherwise, the lights in the FS Hz LED ladder on the far left will blink on and off and you'll get no sound. Once you select the correct input, the LEDs stay lit on the sampling rate you're using. At the center right is the volume knob for controlling the output levels to your speakers, with L-R signal LEDs in the middle, plus a clock status LED. The headphone jack and the on-off switch are also on the front panel.


Rear panel (Click image for larger view)
The rear panel has standard S/PDIF and ADAT optical connectors and a 2x AES/EBU 9-pin D-Type input connector, where you can connect standard AES cables with an included adapter. On the right are the analog XLR outs, and the 1/8" consumer stereo out, plus the USB jack if you have the USB card. An external power supply with an extra long cord also plugs in on the rear.

I don own a high quality D/A, but it would make my life a lot easier if I did. I record digitally at 24-bit/48kHz, passing the signal optically from a Mackie d8b to a Tascam MX-2424 recorder or to an M-Audio Delta 1010-powered DAW with an optical interface. Monitors are a Blue Sky System One active monitor/sub system that make the d8b aging D/A converters sound pretty good during tracking and mixing. But most important, Ie learned a few tricks to compensate for the Mackie converters, so I can usually get what I want when mixing. It roughly equivalent to people who mix with outdated Yamaha NS-10 monitors, because they know how to translate what theye hearing.

SPECS
INPUTS:
• 2 x AES-EBU on 9 pin D-Type (breakout cable to two female XLR-3 required) handling sample rates: 44.1k-192k single-wide and 88.2 k-192k double-wide.
• S/PDIF optical on TOS-LINK 44.1/48k
• S/PDIF coaxial on RCA 44/1-192k
• ADAT 44/1-48k
• ADAT/SMUX II for 88/2/96k
• ADAT/SMUX IV for 176.4/192k
• USB at 44.1/48k


OUTPUTS:
• 2 x XLR (pin 2 - hot) for pro-audio stereo
• 1/8” jack for consumer-level stereo (standard 1/8” to RCA cable required) also able to drive headphone’s
• 1/4” jack headphone
• USB

The Mini-DAC can handle digital sample rates up to and including 192 kHz A 2x AES/EBU 9-pin D-Type input connector handles 44.1k-192k sampling rates single-wide and 88.2-192k sampling rates double wide via an included breakout cable with two female XLR-3 jacks on the other end.

--------------------------------------------------------------------------------
Price:
$995, or $1,195 with USB option

For mastering, I downsample to 16-bit/44.1 kHz via a Z-Sys digital sample rate converter into a Marantz CD recorder digital AES input. Then I listen to the CD in the car and in my house, evaluate what needed and go back to the studio to tweak it. So, when I hooked up the MiniAC to the mixer digital out and connected it directly to the Blue Sky monitor inputs, I had to adjust to the better audio translation. Trusting that what you hear is what youe going to get requires a leap of faith! After monitoring this way for a couple of weeks, all I can say is, I believe. Precise, detailed sound like this definitely means fewer trips around the block with my car stereo.

One of the reasons the MiniAC shines is because of the extremely low-jitter dual-stage clock Apogee has designed for it. This is the same design Apogee uses for some of its higher end converters, such as the D/A in its new Rosetta 800, an 8-Channel, 24/96 AD/DA converter. The way it's designed, the first clock stage accepts the bitstream and stores bits in a buffer, while the second stage clocks the bits out of the buffer to conversion.

This dual-stage scheme overcomes a conflict inherent in the function of any clock, according to the MiniAC manual: he clock circuitry of a typical D-to-A converter must be designed as a compromise between the ability to attenuate input signal jitter and the ability to accept any bitstream, regardless of its stability. The more the clock is allowed to track timing variations of the input, the more jitter remains in the clock at the conversion stage, with the degradation of conversion quality as a result.?So, with the dual-stage clock handling each of those functions separately, the result is a very low jitter clock for the final conversion. The combination of minimal jitter and high-quality converters is why the MiniAC sounds so good.

There are a multitude of uses for the MiniAC. It gives you audiophile-grade DVD/CD playback in a studio, a home stereo or for a portable presentation. It has inputs for just about any digital source that you'd want to connect. It's small enough to put in a briefcase, yet it looks professional in a studio. When paired with Apogee's Mini-Me A/D mic pre, it forms a complete audio I/O production system.

Apogee's got another winning product for its Mini line, which in addition to the Minie also includes the new MiniP pre-amps with the same pres as the Minie without the A/D converters. If you're looking for a versatile and professional-quality D/A, the MiniAC would be a hard one to pass up.

USB Compatibility  
Mac
OS 10.2.3 except as noted below

Native CoreAudio USB drivers provide best performance with OS 10.2.3 and above. However, some OS X apps, including Nuendo 2.0, Cubase SX and Digital Performer 4, are not CoreAudio compatible and require an OS X ASIO driver supplied by Apogee. ASIO drivers are also suggested for best performance with OS 9.

ASIO drivers required for:
Cubase SX, Nuendo 2.0 & Digital Performer 4.0
(Driver available from Apogee site)

ASIO drivers not required for:
Emagic's Logic Audio, Ableton Live, and Bias Peak



--------------------------------------------------------------------------------
Windows
98SE, Me, 2000 and XP

Apogee-supplied ASIO drivers suggested for best performance

Windows XP note:
It is recommended that Windows XP users install Service Pack 1, which addresses known issues with USB audio


APOGEE Mini-Me and Mini-DAC

By Nick Peck

Mar 1, 2004 12:00 PM


E-mail this article


Apogee has released a pair of high-quality portable digital interfaces that together form a complete high-end I/O setup that's great for recording and playback on the go. The Mini-Me is a stereo mic/line/instrument preamp with a 24-bit, 96 kHz A/D converter. The Mini-DAC is a 24-bit, 192 kHz D/A converter.

Both devices offer USB connectivity. However, the Mini-DAC was designed to interface conveniently with the Mini-Me, so it takes just one USB connection to record to your computer through your Mini-Me while simultaneously monitoring with the Mini-DAC.

FROM A TO D


As an A/D converter, the Mini-Me offers 44.1, 48, 88.2, and 96 kHz sampling rates and supports 16-, 20-, and 24-bit word lengths. All three word lengths are available at 44.1 and 48 kHz, but the 88.1 and 96 kHz sampling rates operate at 24 bits only. Apogee's UV22HR dithering algorithm is automatically applied during 16- and 20-bit operation.

The Mini-Me is made of sturdy, lightweight aluminum, with the controls laid out somewhat snugly on the front panel (see Fig. 1). All connections are on the rear. When the left and right input-level controls are set fully counterclockwise, the XLR inputs on the back operate at line level instead of mic level. A pair of small, recessed screws on the front panel, which require a jeweler's screwdriver to access, are used to calibrate the incoming line level. I found this arrangement inconvenient for field recording: I'd prefer a simple mic/line input switch instead, allowing the knobs to control the level of either. When a ¼-inch instrument input is connected, the knobs automatically function as instrument-level controls. Two four-LED ladder-style input meters reside between the level controls The Mini-Me's front-panel power switch doubles as a +48V phantom-power selector. Holding the switch to the far right for a couple of seconds activates or defeats phantom power. The 12-position Sample Rate knob selects between the various combinations of sampling rates and bit depths. The Mix control sets the balance between the direct signal and the signal at the USB input. The Mix control doubles as a push button that switches between mono and stereo operation when one mic input is used. The front panel also includes a headphone level control, a switch to select dynamics processing (off, limiting only, or compression and limiting), and a switch to select one of three compression curves.

On the rear panel, the Mini-Me has a pair of Neutrik combo jacks. Mic and line signals are received through the XLR jacks, and the ¼-inch jack is for high-impedance signals only. The rear panel also has an ⅛-inch stereo headphone jack, a USB port, S/PDIF and AES/EBU digital outputs, and a power jack for the external power supply or an optional battery. For field recording, a lead-acid battery (available from Eco-Charge, Inc.) is the only way to go.

As a bonus, the Mini-Me can output digital black from the AES/EBU and S/PDIF ports at all four sampling rates when the unit is not sending digital audio information. This allows the Mini-Me to be a high-quality, low-jitter master clock-source for a digital studio. However, the unit does not have a standard BNC-style connector for dedicated word-clock output.

SIGNAL TAMERS


The Mini-Me features defeatable limiting and compression circuits to eliminate unwanted digital overs. Apogee's Soft Limit limiter begins rounding peaks at about -4 dBFs, which results in fairly transparent limiting that leaves most of your recording untouched. The Push-It compressor circuit is designed for more aggressive gain control, audibly squashing the sound and allowing an overall hotter signal to be digitized. The unit offers three preselected gain-reduction curves, but no adjustable compression parameters.

I liked the Soft Limit feature quite a bit because it let me record sharp, transient sounds — such as metal clanks — without worrying too much about overloading the circuit. It worked well on a number of sources for which the maximum dynamic level couldn't be predicted, such as concerts and loud sound effects.

I didn't care much for the Push-it compressor, however. Whether recording vocals, piano, percussion, or airplanes, the Mini-Me's compression algorithms added a hard, flat sound that didn't complement or enhance the recordings. My tendency was to stick with the Soft Limit feature, record at a slightly lower level, and then apply plug-in or outboard compression later if needed.

SURFIN' USB


The Mini-Me can act as a front end to any digital recording device through its AES/EBU and S/PDIF ports, but it also includes a USB port for connecting directly to any USB-equipped computer. Apogee has developed ASIO drivers for Windows 98SE, ME, 2000, and XP and for Mac OS 9 and OS X. The CoreAudio drivers in OS X support the Mini-Me as well. As a result, the Mini-Me works with most current DAW applications running on a laptop or desktop machine. The bandwidth of the USB protocol limits the maximum audio resolution to 24-bit, 48 kHz. However, the Mini-Me's AES/EBU and S/PDIF outputs continue to send audio at sampling rates of up to 96 kHz while you're using the USB port.

Under OS X, the CoreAudio driver recognized the Mini-Me as soon as I connected it to my computer. Configuring it as the input and output source under system preferences was effortless, and within a minute of plugging it in for the first time, I was recording audio into the shareware audio editor, Amadeus II. The audio played back flawlessly over USB, allowing me to mix the computer's signal in my headphones with audio coming in through Mini-Me's line inputs using the direct/USB Mix knob.

I used Emagic Logic Platinum 6 on a G3 iBook to test the Mini-Me in a multitrack environment. I recorded a metronome pulse, then recorded clapping against the pulse. USB latency was in the range of 40 to 60 ms, which is about what I have noticed with other USB interfaces plugged into that computer.

AIRWAVES


To record a series of WWII aircraft for a video game project, I toted the Mini-Me, a Crown SASS-P stereo mic, and a Tascam DA-P1 DAT recorder to the Planes of Fame Air Museum in Chino, California. I ran the mics directly into the Mini-Me, sending a 16-bit, 44.1 kHz signal from its S/PDIF output to the DA-P1.

The Mini-Me's mic preamps and A/D converter were a marked improvement over the DA-P1's internal electronics. The recordings of the planes' massive 60-year-old engines had a nice combination of throatiness and detail. Quiet Foley sounds, such as cockpit levers and switches, came out clean and noise-free.

In the studio, I recorded acoustic guitar, vocals, piano, and jingling keys (my favorite high-frequency test) at several sampling rates. The results were consistently musical, clean, and detailed. The Mini-Me's conversion handled the metallic high-frequency material without creating noticeable distortion or harshness.

FROM D TO A


The Mini-DAC is meant to be used at the end of the digital audio signal chain, typically feeding a pair of powered monitors. It handles a variety of inputs, including AES/EBU; coaxial S/PDIF; optical S/PDIF, ADAT, and S/MUX; and, with the optional input card, USB. All of the standard sampling rates from 44.1 to 192 kHz are supported.

The Mini-DAC has only three controls: a power switch, a level knob, and the Input Select knob (see Fig. 2). The 12-position input selector allows you the flexibility to monitor any of the four pairs of ADAT inputs (channels 1-2, 3-4, 5-6, or 7-8) coming in over Lightpipe, as well as either of the two rear-panel AES/EBU inputs at sampling rates of up to 96 kHz. In addition, you can choose to monitor the AES/EBU inputs together in double mode for 176.4 and 192 kHz operation. The front panel also includes a ¼-inch headphone jack, a set of sampling-rate LED indicators, a pair of signal-lock LEDs, and a pair of signal-level LEDs. It would be nice if the Mini-DAC had four signal-level LEDs per channel the way the Mini-Me does.

The rear panel has a power input; a S/PDIF coaxial jack; an optical jack for S/PDIF, ADAT Lightpipe, and S/MUX signals; a spot for the optional USB input; and a DB9 AES/EBU I/O jack. A DB9 cable, with two AES/EBU XLR inputs at the other end, is included. I would prefer to have two AES/EBU XLR inputs on the rear panel, but there's not enough room. The analog outputs are a pair of +4 dBu XLR jacks and an unbalanced -10 dBV ⅛-inch stereo jack.

DETAILS, DETAILS


Whether it's monitored through headphones or through the XLR outputs, the Mini-DAC's sound is clean, detailed, and unhyped, with a smooth frequency representation across the spectrum. I listened to several projects of my own as well as recordings I know very well, such as the Beatles' Sgt. Pepper's Lonely Hearts Club Band and the recent Steely Dan releases, and the Mini-DAC revealed subtle nuances and details I had never heard before. I have no doubt that the Mini-DAC would be a very useful tool for presenting an objective sonic perspective during the mixing process.

A peculiar bug popped up when I used the Mini-DAC's USB connection. When powered up, the Mini-DAC slaved to USB at a sampling rate of 48 kHz, and all of the 48 kHz files sounded terrific when played back — tight, clean, punchy, and loaded with detail. However, the 44.1 kHz files sounded terrible — noisy, grainy, and flat — because the Mini-DAC did not automatically resync to 44.1 kHz, causing improper sampling-rate conversion. Unfortunately, there are no controls in the Mac's system preferences or on the Mini-DAC to set the USB's sampling rate. To resync USB to the proper sampling rate, I had to disconnect the USB cable from the Mini-DAC and reconnect it. When the Mini-DAC received signals from the AES/EBU ports, it resynced correctly to any changes in the sampling rate.

PREACHING CONVERTERS


Apogee's Mini-Me and Mini-DAC make a fine pair. Their sonic qualities are first-rate, and their flexibility in accepting and translating a wide variety of digital formats will make them welcome in many professional studios. More importantly, they can run on battery power, and their portability, solid construction, and USB capabilities make them ideal for field and concert recording applications.

If you work only in a stationary recording studio, there are other converter options available that offer more features for less money. But if the notion of a high-quality, lightweight, and mobile recording system is of interest to you, then these babies are definitely worth examining more closely.

PRODUCT SUMMARY


Apogee Electronics


Mini-Me
mic preamp and ADC
$1,495 ($1,295 without USB)

FEATURES 4.0
EASE OF USE 3.5
AUDIO QUALITY 4.5
VALUE 2.5
RATING PRODUCTS FROM 1 TO 5


PROS: Great Sound quality. Built-in compressor and limiter. Highly portable. Rugged.

CONS: No word-clock in. Must be the master clock source. Recording through USB limited to 44.1 or 48 kHz. Line-input level can only be adjusted from tiny calibration screws. Compression algorithms are somewhat heavy. No status indicator for mono/stereo headphone switch.

Manufacturer


Apogee Electronics Corp.
tel. (310) 915-1000
e-mail info@apogeedigital.com
Web www.apogeedigital.com

Mini-Me Specifications


Analog Inputs (2) XLR/¼" TS combo jacks
Analog Outputs (1) ⅛" stereo headphone
Digital Outputs (1) XLR AES/EBU; (1) S/PDIF coaxial; (1) USB
Sampling Rates 44.1, 48, 88.2, 96 kHz (USB max. rate 48 kHz)
Mic Amp Gain Range 12-65 dB
Word Lengths 16-, 20-, and 24-bit (24-bit only at 88.2 and 96 kHz)
Dynamic Range 105 dBA
THD+N -94 dB
Frequency Response 20 Hz-20 kHz (±0.2 dB @ 44.1 kHz Fs)
Power Source 6-16 VDC (adapter included)
Dimensions 5.4" (W) × 1.5" (H) × 9.8" (D)
Weight 2 lb.


Mini-DAC Specifications


Analog Outputs (2) XLR; (1) ⅛" stereo; (1) ¼" stereo headphone
Digital Inputs (1) AES/EBU D-sub; (1) coaxial S/PDIF; (1) optical S/PDIF/ADAT/S/MUX; (1) USB (optional)
Sampling Rates 44.1, 48, 88.2, 96, 176, 192 kHz (±10%)
Word Lengths 16- and 24-bit
Frequency Response 10 Hz-20 kHz (±0.2 dB at 44.1 kHz)
THD+N -107 dB
Dynamic Range 119 dBA
Crosstalk -125 dB
Power Source 6-16 VDC (adapter included)
Dimensions 5.4" (W) × 1.5" (H) × 9.8" (D)
Weight 2 lb.


PRODUCT SUMMARY


Apogee Electronics


Mini-DAC
DAC
$1,195
($995 without USB)

FEATURES 4.0
EASE OF USE 3.5
AUDIO QUALITY 4.5
VALUE 2.5
RATING PRODUCTS FROM 1 TO 5


PROS: Great sound quality. Highly portable. Rugged.

CONS: Must disconnect and reconnect the USB cable when switching from 44.1 kHz to 48 kHz audio.

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再毒大家一下

The Ultimate D/A for Reference Monitoring in the Studio or on the Road.

Connection Diagrams and other Support for the Mini-DAC >

Following the huge success of Mini-Me, Apogee is excited to offer the latest addition to our Mini Series, Mini-DAC. This professional quality,192kHz D/A converter, is the ultimate portable and compact solution for studio playback, reference monitoring, USB connectivity to your DAW, and premium home audio systems.

Professional, Portable, Affordable With the venerable AD-1000 in mind, Apogee set out to make a series of next-generation, compact, high quality converters that both audio professionals and home recording enthusiasts will not want to do without. And although Mini-DAC is built to go and priced to move (it’s far less expensive than any Apogee D/A ever), it delivers a feature rich D/A converter that is unrivaled in the pro studio world.

USB and Beyond with "Digital-Thru-Mode"
These days, if you are doing digital, you need connectivity options. Through Mini-DAC´s ability to interface directly with your computer and virtually any DAW via USB, you get maximum flexibility for a myriad of input formats. And Apogee has taken advantage of this USB capability by expanding it to offer what we call “digital-thru-mode”. This provides the exciting option of interfacing non-USB digital devices with your computer. To use digital-thru-mode, set your Mini-DAC´s input selector to "USB"… connect any two-channel digital device like Apogee´s Mini•Me, Trak2, or Rosetta, and you have just USB enabled your favorite A/D converter and interfaced it with your computer/DAW. No other hardware required.


Above: Use Mini•DAC´s Digital Thru Mode to USB enable any 2-channel digital device  
Precision Reference Monitoring Are you using a massive mixer just to ride your monitor levels? Or do you have a great A/D but inferior D/A? Then make a little room for Mini-DAC. With comprehensive level control and a high quality headphone output you can hear exactly what you are committing to while recording. And when it is time to mix down, Mini-DAC provides the optimum stereo image and the most faithful analog reproduction of your carefully recorded digital audio that money can buy.

Ultimate Listening for Audiophiles Want to hear your music as it was intended? Then Mini-DAC is the way to optimize your home audio system. Connect your premium CD/DVD player to Mini-DAC and then out to your speakers for a superb sonic experience that your discerning ears will appreciate.

When Quality & Affordability Matters!
Following the huge success of Mini-Me, Apogee is excited to offer the latest addition to the Mini Series, the Mini-DAC. This professional quality,192kHz D/A converter, is the ultimate portable and compact solution for studio playback, and reference monitoring.

Apogee Mini-DAC at a Glance:

Professional Apogee conversion in a portable package
24-bit, 192kHz reference monitoring
Precision reference monitoring
Professional, Portable, Affordable
With the venerable AD-1000 in mind, Apogee set out to make a series of next-generation, compact, high quality converters that both audio professionals and home recording enthusiasts will not want to do without. And although Mini-DAC is built to go and priced to move (it's far less expensive than any Apogee D/A ever), it delivers a feature rich D/A converter that is unrivaled in the pro studio world.

Digital conversion at up to 192kHz
The Mini-DAC can handle digital audio conversion at sample rates up to 192kHz. Its inputs include dual AES-EBU (breakout cable to two female XLR-3 required) handling sample rates: 44.1kHz-192kHz single-wide and 88.2kHz-192kHz double-wide, S/PDIF optical on TOS-LINK at 44.1/48kHz, S/PDIF coaxial at 44.1 - 192kHz, ADAT at 44.1/48kHz, ADAT/SMUX II for 88.2/96kHz, ADAT/SMUX IV for 176.4/192kHz and optional USB at 44.1/48kHz.

Precision Reference Monitoring
Are you using a massive mixer just to ride your monitor levels? Or do you have a great A/D but inferior D/A? Then make a little room for Mini-DAC. With comprehensive level control and a high quality headphone output you can hear exactly what you are committing to while recording. And when it is time to mix down, Mini-DAC provides the optimum stereo image and the most faithful analog reproduction of your carefully recorded digital audio that money can buy.

Apogee Mini-DAC Features:

Inputs include AES (single & double wide), Optical (ADAT,S/MUX & S/PDIF), S/PDIF Coax and optional USB
2 x XLR (pin 2 - hot) outputs for pro-audio stereo
1/8" jack for consumer-level stereo (standard 1/8" to RCA cable required); also able to drive headphones
1/4" headphone jack
Analog output level control for direct connection to powered monitors
Low-current, low-voltage - ideal for location
Digital thru mode adds USB functionality to any digital device including Apogee's Mini-Me, Trak2 and Rosetta
The Apogee Mini-DAC is the perfect fit for any audio setup!
SALE PRICE:
$899.97

那不是说，DAC只要你3K？超值咯！

RAXEL大大，当时对Apogee Mini　 D/A 有做过选择吗？