ULTRAMATCH PRO SRC2496

Users Manual

ENGLISH ENGLISH

Version 1.2 June 2004
IMPORTANT SAFETY INSTRUCTIONS
DETAILED SAFETY INSTRUCTIONS: 1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. CAUTION: To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside; refer servicing to qualified personnel. 5) Do not use this apparatus near water. 6) Clean only with dry cloth. 7) Do not block any ventilation openings. Install in accordance with the manufacturers instructions. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. 10) Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11) Only use attachments/accessories specified by the manufacturer. 12) Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

WARNING:

To reduce the risk of fire or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing and no objects filled with liquids, such as vases, shall be placed on the apparatus.
This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosurevoltage that may be sufficient to constitute a risk of shock.
This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.
13) Unplug this apparatus during lightning storms or when unused for long periods of time. 14) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. 15) CAUTION - These service instructions are for use by qualified service personnel only. To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions unless you are qualified to do so.

ULTRAMATCH PRO

Ultra high-resolution 24-bit/96 kHz A/D-D/A, sample rate and format converter
s High-end 24-bit/96 kHz A/D and D/A converters for ultimate signal purity
s Converts any sample rate between 31 and 100 kHz into 32, 44.1, 48, 88.2 or 96 kHz sample rates s Flexible format conversion between AES/EBU and S/PDIF (coaxial or optical) s Ultra high-quality signal output with 16-, 20- or 24-bit resolution s Universal sample rate synchronization via wordclock or digital input s Allows parallel A/D and D/A conversion at identical sample rate
s Precise metering for input/output signal as well as powerful headphone monitoring s Dithering automatically adapted for word length conversion s Allows direct manipulation of emphasis and copy-protection bits
s High-precision quartz clock generator removes jitter and corrects off-tune, incorrect sample rates s Extremely fast tracking supports varispeed applications s Self-adjusting anti-aliasing filter with exceptionally steep edge
s Consumer devices (e.g. DAT recorders) can be synchronized with the studio clock s All three outputs (XLR, RCA, optical) simultaneously operational (splitter) s Inputs separately selectable (patchbay functionality) s All digital inputs/outputs balanced and galvanically isolated s All analog inputs/outputs servo-balanced s Conceived and designed by BEHRINGER Germany. Made in China

* We want to point out that the copyright of third parties must not be infringeddespite the possibility of removing the copy protect bit with the help of the ULTRAMATCH PRO! This device was not developed to produce unauthorized copies! 3

SRC2496

FOREWORD
Dear Customer, welcome to the team of BEHRINGER users and thank you very much for expressing your confidence in us by purchasing the SRC2496. Writing this foreword for you gives me great pleasure, because it represents the culmination of many months of hard work delivered by our engineering team to achieve a very ambitious goal: considerable improvement of an excellent piece of equipment. The ULTRAMATCH SRC2000 has for quite a long time been a standard tool used by numerous studios. The task of designing our new ULTRAMATCH PRO SRC2496 certainly meant a great deal of responsibility which we assumed by focusing on you, the discerning user and musician. Meeting your expectations also meant a lot of work and night shifts. But it was fun, too. Developing a product usually brings a lot of people together, and what a great feeling it is when all who participated in such a project can be proud of what theyve achieved. It is our philosophy to share our enjoyment with you, because you are the most important member of the BEHRINGER team. With your highly competent suggestions for new products youve made a significant contribution to shaping our company and making it successful. In return, we guarantee you uncompromising quality as well as excellent technical and audio properties at an extremely reasonable price. All of this will enable you to give free rein to your creativity without being hampered by budget constraints. We are often asked how we manage to produce such high-quality devices at such unbelievably low prices. The answer is quite simple: its you, our customers! Many satisfied customers mean large sales volumes enabling us to get better purchasing terms for components, etc. Isnt it only fair to pass this benefit on to you? Because we know that your success is our success too! I would like to thank all of you who have made the ULTRAMATCHPRO possible. You have all made your own personal contributions, from the developers to the many other employees at this company, and to you, the BEHRINGER user.

Before you connect your ULTRAMATCH PRO to the mains, please make sure that your local voltage matches the supply voltage required by the unit!
The fuse holder at the AC power connector has 3 triangular markings. Two of these three triangles will be aligned with one another. The ULTRAMATCH PRO is set to the voltage shown next to these markings and can be switched over by twisting the fuse holder by 180. IMPORTANT: This does not apply to export models designed exclusively for 120 V operation!
If you set the unit to a different mains voltage, be sure to use a fuse of the correct type and rating! In chapter 6 TECHNICAL SPECIFICATIONS you will find the matching fuse type for your local mains voltage.
The mains connection is made by using the enclosed power cord and a standard IEC receptacle. It meets all of the international safety certification requirements.
Please make sure that all units have a proper ground connection. For your own safety, never remove or disable the ground conductor of the unit or of the AC power cord. Please ensure that only qualified persons install and operate the SRC2496. During installation and operation the user must have sufficient electrical contact to earth. Electrostatic discharges might affect the operation of the unit.

2. CONTROL ELEMENTS

2.1 Front panel of the ULTRAMATCH PRO SRC2496
Fig. 2.1: Front panel control elements Monitor and input sections. The monitor section enables you to adjust the signal level applied to the analog input and features a controllable headphone connector. A clearly structured LED array provides you with detailed information on the various parameters of the digital input signal. Mode section. Here, you can determine whether your ULTRAMATCH PRO is working as a sampling rate converter or A/D-D/A converter. Output section. The buttons in the output section allow you to tailor the output signal to meet your requirements. Similarly to the input section, the display provides you with all the information on the output signal.
2.1.1 Monitor and input sections
The EMPH LED shows you whether or not the input signal includes an emphasis marker. Emphasis is a highfrequency boost function that is applied during the digital recording but is undone during playback. When the LED lights up, the signal was emphasis-processed during recording. You should always make sure that the EMPH LEDs in the input and output sections read the same status. The COPY LED (= copyright) lights up when the input signal was supplied from a copy-protected data carrier. The ORIG LED (= original) informs you that the audio signal received is an original signal, i.e. that it can be copied (see chapter 2.1.3, section ). Fig. 2.2: Input section control elements Use the GAIN control to adapt the signal level perfectly to the circuitry of your ULTRAMATCH PRO. The level should be as high as possible, but the 0 dB LED should only light up occasionally or never at all to avoid distortion. The PHONES control governs the headphone volume. You can monitor either the analog output or input by setting the SOURCE switch accordingly. The analog output always provides the signal applied to the selected digital input, so this signal can be monitored with the headphones, too. When the ULTRAMATCH PRO operates as an A/D-D/A converter, the digital input signal is applied to the analog output only in DIG IN mode (see , ). This is the stereo 1/4" TRS connector for your headphones. The ANALOG IN and/or ANALOG OUT LEDs indicate which signal (input or output) is being displayed by the level meter. The SOURCE switch routes the analog input or output signal to the level meter. LEVEL METER. The signal shown here can always be monitored with the headphones. The AES/EBU LED lights up when an AES/EBU signal has been applied at the active input connector. The same holds true for the S/PDIF LED, i.e. when a consumer-format signal has been applied. If the unit is set to A/D and D/A converter mode, the S/PDIF LED lights up even when no digital signal is present. This is due to the circuitry used and does not indicate a malfunction of the unit. Further information on the formats AES/EBU and S/PDIF can be found in chapter 4.2. Use the SOURCE switch to select the active input. Only one digital input can be activated at a time. However, in A/D-D/A converter mode, you can use one digital input and the analog inputs simultaneously (parallel A/D and D/A conversion). For further information please refer to chapter 3.1.3. The LEDs XLR, RCA and OPTICAL indicate the input activated by the user.

3.1 A/D and D/A conversion with the ULTRAMATCH PRO
3.1.1 Converting analog to digital
The ULTRAMATCH PRO is equipped with high-grade A/D and D/A converters. With the SRC2496 you own an excellent tool for preparing your analog audio data for digital processing or for converting analog signals directly and storing them on a digital medium. The analog input is set for studio levels (+4 dBu), but can be adapted to low-level signals with the GAIN control. Please use the level meter to adapt the level of the input signal, as described in chapter 2.1.1. The illustrations 3.1 and 3.2 below show you how to connect the unit.
Fig. 2.10: Digital inputs

Digital outputs

Fig. 3.2: Example: A/D conversion of tape recordings Fig. 3.1: Example: A/D conversion of a microphone signal Fig. 3.1 shows a typical setup for recording a signal source on a digital recording device (here: hard-disk recording system). If your HD recording system is equipped with a digital interface, you can use the ULTRAMATCH PRO to circumvent the A/D converter on the sound card and thus avoid interference signals generated by the computer. By taking the signals from the subgroup outputs on your mixing console, you can record several signal sources at the same time by assigning (routing) them to the corresponding subgroups. In practice, the ingenious design of the SRC2496 proves to be versatile to the point that you can also solve problems which are not directly related to a normal studio environment. For example, digital hi-fi recording equipment such as MD recorders (Mini Disc) have been met with widespread popularity in home systems. Unfortunately, however, such equipment cannot record with 32 kHz using their digital input. Thus, it is impossible to record digital broadcasting programs directly to digital; D/A and A/D conversion steps are inevitable. Not so with the ULTRAMATCH PRO, as it can convert the broadcast signal from 32 kHz to any other common sampling rate and also remove any form of copy protect information. A second wiring setup shows how to copy tape recordings for restoring and subsequent archiving purposes on digital media.

Since subgroup outputs on mixing consoles, as well as tape and line outputs on hi-fi amplifiers, usually provide unbalanced signals only, please note the corresponding instructions on how to connect the SRC2496 (chapter 5 INSTALLATION).
3.1.2 Converting digital to analog
Using the ULTRAMATCH PRO as a digital-to-analog converter is interesting for all applications in which signals must be made audible again after digital processing, e.g. to circumvent D/A converters of inferior quality in equipment with a digital output (sound card). This can be useful if your sound card is not shielded from electromagnetic interference generated by power supplies or graphics cards for example. You can feed the audio signal from the digital interface of the sound card to one of the digital inputs on the SRC2496 and then take it from the analog outputs. The type of cable required for connecting the sound card to the ULTRAMATCH PRO depends on the output connector used.
Detailed information on wiring setups can be found in chapter 5 INSTALLATION.
3.1.3 Parallel A/D and D/A conversion
The SRC2496 offers you the possibility to simultaneously convert analog signals into digital, and vice versa. In A/D and D/A converter mode, you can only convert from digital to analog if the CLOCK switch in the output section has been set to DIG IN. In this case, the sampling rate will be determined by the digital signal applied. Otherwise, the ULTRAMATCHPRO can only be operated as an A/D converter, and the D/A converter function will be muted. In SRC mode the D/A converter is always active.
3.2 Sample rate conversion
No matter what type of digital audio signal you feed into the ULTRAMATCH PRO, it will convert it to a common standard format. Numerous conversion examples can be found in daily studio practice: s s s s s Conversion of 48 kHz DAT recordings to the CD standard of 44.1 kHz. Conversion of older digital recordings from 44.056 kHz to 32, 44.1, 48, 88.2 or 96 kHz. Conversion of foreign material with 32 kHz to 44.1, 48, 88.2 or 96 kHz. Conversion of audio data with a word length of 24 bits to 20 or 16 bits for recording on a digital medium. Conversion of S/PDIF format to AES/EBU for easy manipulation of various parameters and improved (balanced) signal transmission. Setting or removing copy protect bits for further processing of recordings in a studio environment. The need for synchronization in a digital studio is done justice connecting the equipment to one central sync source. For example, the console could be the master-supplying the remaining equipment with a reference signal (wordclock). However, this will only work if your other equipment has a sync input, i.e. can be used as a slave. In a studio with a digital tape machine, digital effects and hard-disk recording system it is impossible to connect commercially available CD players or DAT recorders to the mixing section of the console simply because they cannot be synchronized. By inserting the BEHRINGER ULTRAMATCHPRO SRC2496 between the equipment to be synchronized and the mixing console input, the SRC2496 can deliver the audio signal with the studio ). clock rate entered via the external sync input (WORDCLOCK, In this case, the ULTRAMATCH PRO works as intermediate gear of sorts, whose toothed transmission always ensures that there is an appropriate gap in the gearwheel. It synchronizes the signal coming from the devices to be synchronized, while converting to the desired sampling rate in compliance with the wordclock signal. In a studio with a central clock generator, it is therefore possible to use the ULTRAMATCH PRO to connect any unit to any other, regardless of any other options available.

3.2.1 Typical studio application with DAT
Only recently has it become possible to use less expensive DAT recorders for direct recording from analog sources with a sampling rate of 44.1 kHz. Most consumer-level DAT recorders, however, record at 48 kHz. Usually, such recordings have to be transferred via an analog connection from DAT to a professional recorder. This process results in an unnecessary deterioration of the original quality of the material due to the additional D/A and A/D converters involved. With the ULTRAMATCH PRO you can eliminate this problem by converting the sampling rate purely in the digital domain, which allows for a considerably higher quality than you could achieve with analog converters. Further problems, such as incorrect formats, significantly deviating or unstable sampling rates (as long as they do not deviate by more than 12.5% from the current sampling rate), will also be corrected by the ULTRAMATCH PRO in real time, thus ensuring the successful transfer of your audio data.
Even if the central clock does not correspond exactly to one of the sampling rates, the ULTRAMATCH PRO will assign a corresponding marker to the output signal! This marker depends on the automatically detected and displayed sampling rate, which is important because DAT recorders usually refuse to enter record mode if an incorrect sampling rate has been indicated.
3.2.4 Bridging unformatted passages
DAT recorders, in particular, produce tiny format gaps between individual recorded passages on the tape when intermittent recordings are made. Also, when you transfer older recordings it can happen that short passages with a different sampling rate than that of the current recording remain stored on tape. In such cases, the ULTRAMATCHPRO converts this host of single pieces of information into a continuous data stream with a fixed sampling rate. Even if the DAT recorder or any other digital source is stopped or switched off, the ULTRAMATCHPRO will continue to generate a continuous signal (depending on the digital signal, if synchronized to it).
3.2.2 Hard-disk recording
Hard-disk recording applications also require a uniform sampling rate, if possible the one used by the subsequent playback medium (CD). As it can convert audio material from 32, 48, 88.2 or 96 kHz to the standard 44.1 kHz, the ULTRAMATCH PRO makes sure that all sources can be used to feed audio material by way of a digital connection. Of course, the ULTRAMATCH PRO can be inserted at any point in the audio processing path, i.e. also between the PC and the DAT recorder. Therefore, with uncritical audio material you can process the material at 32 kHz in the recording system (or higher, depending on which sampling rates can be processed by the HD recording system), and subsequently convert the completely edited material while transferring it to a DAT recorder at 44.1 kHz (or even at 48 kHz).

the signal has been processed with this technique. It is however NOT a modification of the audio signal, but only of the emphasis marker contained in the digital data stream. So much for the theory. In practice, a lit EMPHASIS LED does not necessarily show that the emphasis function has really been applied. In several situations the emphasis bit was set during the mastering and editing process due to defective hardware/ softwarewithout any treble boost applied. This error usually remains undetected when the material is transferred, because modern DAT recorders no longer have an emphasis indicator for reasons of rationalization. When the master tapeusually only monitored briefly on the DAT recorder due to lack of timearrives at the customers end, it gives him a big surprise: The treble range has been cut in the DAT recorder by more than 10 dB, which cannot be undone and results in a dull sound that lacks brilliance in the treble range. It is for this reason that we equipped the ULTRAMATCHPRO both with an emphasis status LED and with an additional switch for manual correction of the emphasis bit setting. AES/EBU. With the SRC2496 this problem is now history. The input of your ULTRAMATCHPRO readily accepts any standard used today. On the output side, you can select either AES/EBU or S/PDIF, so that it is just a matter of one key press to realize the successful transfer of your audio material.

3.9 Format interface

Many CD players have no coaxial but only an optical output. Some DAT recorders, on the other hand, only have a coaxial input. Digital interface cards for personal computers are usually equipped either with optical or coaxial connectors. So, when you try to transfer data from one unit to another you are likely to encounter incompatibility problems, in that one unit has an optical connector, while the other has a coaxial RCA connector. Connection to professional equipment is difficult because of the XLR connectors used there, or even impossible if it features optical interfaces. Such incompatibilities between inputs and outputs are definitely a thing of the past with the ULTRAMATCHPRO. For example, if the CD player only has an optical digital output, while the DAT recorder is equipped with a coaxial RCA input, your SRC2496 will easily eliminate the resulting connection problems with its three inputs and outputs in all formats. Your ULTRAMATCHPRO allows for interconnecting virtually all equipment that is available on the market today!
3.5 Line booster, signal refresher
Longer cable lengths or the use of a digital patchbay lead to deterioration of signal quality, which may result in a higher noise floor or even connection failures. Using special input circuitry your ULTRAMATCHPRO removes jitter, interference and level loss, thus restoring the signal to perfect quality. As a consequence, you can also use the SRC2496 to refresh the signal over longer cable lengths or to restore attenuated and distorted signals.

3.7 Vari-speed application
There are several reasons for modifying the speed of a digital playback, e.g. to change the pitch or synchronize the playback to other equipment. In such cases, the ULTRAMATCHPRO can track the sampling rate as it changes and then output the signal with a fixed rate of 44.1 kHz (or any other selectable or wordclockdefined value). Thus, it reliably removes sampling rate fluctuations, which could otherwise make it impossible to process the digital audio material any further in the digital domain.
At its digital input, the ULTRAMATCH PRO accepts sampling rate fluctuations of up to 12% from the adjusted sampling rate, without producing any distortion at its output. When things get worse, the connection will not be interrupted, but temporary drops in the signal quality (distortion) may occur.

3.8 Format converter

Digital data transfer is frequently affected by problems with the format required. While some devices specifically need S/PDIF signals on the input side, others can only output
There is no doubt that digital signal processing guarantees the lowest distortion and noise values. However, up until now signal conversion, specifically sampling rate conversion, had partially led to considerable distortion and interference: If you tried to use traditional methods, the incoming data quantity would far exceed any hardware capacity. If data was put into smaller pieces to avoid storage problems, the necessary turnaround time would prevent any practical application. Therefore, programmers continue to experiment with the most varied of algorithms, ending up, however, always having to make a compromise between computation efforts and sound quality. By processing data in real time, the processor used in the BEHRINGER ULTRAMATCHPRO can process incredible amounts of data. The noise and interference floor is thus below -117 dBFS, and the distortion values, even with difficult input signals, are below -104 dBFS. The ULTRAMATCH PRO remains practically inaudible as such values are not normally achieved either by the A/D or the D/A converter, and certainly not by the CD as the final product. Table 4.3 presents the corresponding consumer-format data, as normally used with S/PDIF-connections.
Byte 3 P/C 1 Audio 2 Copy 3 Bit 4 Emphasis Mode Gen.st. Channel number Clock acc. Reserved 7
Category code Source number Sampling frequency
Tab. 4.3: Markers in consumer format IEC 958 Type II (S/PDIF) The first bit already defines whether the following bits are to be understood as professional or consumer-format bits. As shown, the audio information can be found at the same position in the data stream, in principle making both formats compatible. There are, however, information blocks that differ in both norms. If a piece of equipment, such as a commercially available DAT recorder, has only one S/PDIF input, the equipment will usually understand that format only. It will thus usually stop when supplied with professional-format data. The reason is simple: as shown in the illustrations, processing a professionally-coded signal with equipment that can only understand consumer format can lead to malfunctions relating to the copy protect bit and the emphasis! However, this point is not always readily evident, as is the case with plug-and-socket connectors (e.g. 1/4" TRS connectors, mini-jacks and special adapters for Sub-D instead of XLR connectors). A lot of equipment has no stop function while other equipment can understand both formats despite having only one type of connector. In all of these cases using the ULTRAMATCH PRO as the ultimate problem solver will soon pay off. Virtually, all common digital signals it receives at the input appear at the output with new, clean markers in the respective chosen format.

5.3 Digital inputs and outputs
5.3.1 Balanced XLR connection
The digital XLR inputs and outputs are not bound by the AES/EBU protocol. They accept and deliver data streams in both the professional and the consumer format. Should the RCA input already be occupied by another device, it is even possible to connect the RCA output of, say, a CD player to the ULTRAMATCHPRO XLR input by using an adapter. To do this, you will need a cable such as the one shown in fig. 5.2, except that instead of a female XLR connector, a plug must be mounted. The following figure illustrates how to correctly connect the balanced input and output connectors. Basically, it is the same wiring scheme normally used for balanced audio connections such as, for example, the connection between a microphone and a mixing console.
Fig. 5.5: Connecting the ULTRAMATCH PRO optically via Toslink
For many consumer devices the consumer format at the optical input is an absolute necessity, otherwise they do not accept the signal. The ULTRAMATCH PRO does not support the ADAT multi-track format, which can thus neither be looped through nor converted. (ADAT is a registered trademark of the Alesis Corporation)
Fig. 5.3: Connecting the ULTRAMATCH PRO in a balanced configuration Selecting the correct cable is not critical. For distances of less than 20 m, generally available microphone cables have no negative effect. For greater distances or higher requirements (mobile operation, powerful high-frequency fields), however, you should use special 110-Ohm cable with double shielding.

5.3.4 Wordclock

Feeding a wordclock signal into the rear BNC connector enables external synchronization of the ULTRAMATCH PRO. Wordclock signals are normally distributed in a network configuration, i.e. are relayed and terminated with 75-Ohm coaxial cable, BNC-T adapters and terminating resistors. Commercially available BNC cables are usually used as connecting cables. In order to offer maximum flexibility, the ULTRAMATCHPROs BNC input has a high-impedance design and is not equipped with an internal 75-Ohm terminating resistor. Should the ULTRAMATCHPRO be the last device in the signal chain, however, it is necessary to put a T-connector into the BNC connector. A 75-Ohm terminating resistor (in the form of a short BNC plug) goes on one end of the T-connector and the BNC cable from the master delivering the wordclock signal on the other end.
5.3.2 Unbalanced coaxial RCA connection
The RCA inputs and outputs, in turn, are not bound to the S/PDIF format. They accept and deliver data streams in both the professional and the consumer format. It is even possible to connect the XLR output (e.g. from the BEHRINGER ULTRA-CURVE PRO DSP8024 or other equipment) to the RCA input on the ULTRAMATCH PRO by using an adapter. Whether or not the reverse will work, namely connecting the ULTRAMATCH

The following figure shows how to correctly connect the unbalanced wordclock input. The wiring scheme is the same as is used for networking in computer technology and you can thus obtain the appropriate accessories (commercially available cable, T-connectors, terminating resistors) in specialist computer shops.

5.4 Headphones output

The headphones output on the front panel of the SRC2496 is on a 1/4" TRS connector. The connection assignment of the corresponding plug is shown in fig. 5.8.
Fig. 5.6: Unbalanced connection (termination) of the wordclock input to the ULTRAMATCH PRO When the ULTRAMATCH PRO is used as part of a chain of wordclock devices, it is also supplied with a wordclock signal via a T-connector, which is then relayed to the next device from the other side of the T-connector via an additional BNC cable. The last device in the chain is then, as previously described, locked by way of the T-connector and a 75-Ohm resistor. Some devices also have a switchable terminating resistor, in which case the T-connector and terminating resistor are not necessary.
Fig. 5.8: Correct wiring assignment for headphones connection
Please note that high volume levels can damage your hearing and/or your headphones. Turn the PHONES control to the far left before turning on the device. Always take care to keep the volume level at an appropriate level.
Fig. 5.7: Unbalanced connection (loop through) of the wordclock input
5.3.5 Connecting with an adapter
In certain cases it makes sense to connect the SRC2496s inputs and outputs to other devices via a cable adapter. If, for example, you wish to simultaneously connect two DAT recorders and each has only one RCA (S/PDIF) connector, you can easily connect one of the DAT recorders to the ULTRAMATCH PRO using an XLR/RCA adapter. The correct connection assignment of the adapter cable for this purpose can be found in fig. 5.2.

6. SPECIFICATIONS

Synchronization Internal sampling rates 32, 44.1, 48, 88.2, 96 kHz Synchronization via digital input and wordclock accepts all sampling rates between 31 and 100 kHz, automatic synchronization by PLL Digital input 1 Type Input impedance Nominal input level Digital input 2 Type Input impedance Nominal input level Digital input 3 Type Synchronization input Type Input impedance Standard Nominal input level Digital output 1 Type Output impedance Nominal output level Digital output 2 Type Output impedance Nominal output level Digital output 3 Type Analog inputs Type Input impedance Converter Input level S/N-Ratio Analog outputs Type Output impedance Converter Output level S/N Ratio Jitter suppression Jitter permitted at input Internal jitter at input Internal jitter with external Synchronization Channel Status information in output signal Professional mode Professional, audio use, stereo, no emphasis or 50/15 s, Fs = 32, 44.1, 48, 88.2, 96 kHz Consumer mode Consumer, audio use, 2-channel, original material switchable, copy permit switchable, no emphasis or 50/15 s, Fs = 32, 44.1, 48 kHz; (88.2, 96 kHz not defined) Power supply Mains voltage U.S.A./Canada 120 V~, 60 Hz Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz General export model 120/230 V~, 50 - 60 Hz Power consumption 15 W Fuse 100 - 120 V~: T 250 mA H 250 V 200 - 240 V~: T 125 mA H 250 V Mains connection Standard IEC receptacle Dimensions/weight Dimensions Weight Shipping weight

XLR, transformer-balanced 110 ohms 0.2 V to 5 V, peak-to-peak
RCA, transformer-balanced 75 ohms 0.2 V to 5 V, peak-to-peak
Toslink, optical fiber cable
BNC 50 kohms Wordclock (1 x FS) 2 V to 6 V peak-to-peak
approx. 1 3/4" (44.5 mm) x 19" (482.6 mm) x 7 1/2" (190.5 mm) approx. 2 kg approx. 3.2 kg
XLR, transformer-balanced 110 ohms balanced 3.5 V peak-to-peak
RCA, transformer-balanced 75 ohms 0.5 V, peak-to-peak
Toslink, optical fibre cable
XLR, balanced 20 kohms 24-bit/96 kHz 128/64 times oversampling delta-sigma AKM A/D converter -4 dBu to +22 dBu for 0 dBFS, adjustable >105 dB
XLR, balanced 160 ohms 24 bit/96 kHz 128 times oversampling delta-sigma AKM D/A converter +16 dBu @ 0 dBFS >108 dB
>40 ns <2 ns <20 ns, 10 ns typ.
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.

7. WARRANTY

1 WARRANTY CARD/ONLINE REGISTRATION To be protected by the extended warranty, the buyer must complete and return the enclosed warranty card within 14 days of the date of purchase to BEHRINGER Spezielle Studiotechnik GmbH, in accordance with the conditions stipulated in 3. Failure to return the card in due time (date as per postmark) will void any extended warranty claims. Based on the conditions herein, the buyer may also choose to use the online registration option via the Internet (www.behringer.com or www.behringer.de). 2 WARRANTY 1. BEHRINGER (BEHRINGER Spezielle Studiotechnik GmbH including all BEHRINGER subsidiaries listed on the enclosed page, except BEHRINGER Japan) warrants the mechanical and electronic components of this product to be free of defects in material and workmanship for a period of one (1) year* from the original date of purchase, in accordance with the warranty regulations described below. If the product shows any defects within the specified warranty period that are not excluded from this warranty as described under 4, BEHRINGER shall, at its discretion, either replace or repair the product using suitable new or reconditioned parts. In the case that other parts are used which constitute an improvement, BEHRINGER may, at its discretion, charge the customer for the additional cost of these parts. 2. If the warranty claim proves to be justified, the product will be returned to the user freight prepaid. 3. Warranty claims other than those indicated above are expressly excluded. 3 RETURN AUTHORIZATION NUMBER 1. To obtain warranty service, the buyer (or his authorized dealer) must call BEHRINGER (see enclosed list) during normal business hours BEFORE returning the product. All inquiries must be accompanied by a description of the problem. BEHRINGER will then issue a return authorization number. 2. Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by BEHRINGER. 3. Shipments without freight prepaid will not be accepted. 4 WARRANTY REGULATIONS 1. Warranty services will be furnished only if the product is accompanied by a copy of the original retail dealers invoice. Any product deemed eligible for repair or replacement under the terms of this warranty will be repaired or replaced. 2. If the product needs to be modified or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modification/adaptation shall not be considered a defect in materials or workmanship. The warranty does not cover any such modification/adaptation, irrespective of whether it was carried out properly or not. Under the terms of this warranty, BEHRINGER shall not be held responsible for any cost resulting from such a modification/adaptation. 3. Free inspections and maintenance/repair work are expressly excluded from this warranty, in particular, if caused by improper handling of the product by the user. This also applies to defects caused by normal wear and tear, in particular, of faders, crossfaders, potentiometers, keys/buttons, tubes, guitar strings, illuminants and similar parts. 4. Damages/defects caused by the following conditions are not covered by this warranty: s improper handling, neglect or failure to operate the unit in compliance with the instructions given in BEHRINGER user or service manuals. s connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used. s damages/defects caused by force majeure or any other condition that is beyond the control of BEHRINGER. 5. Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the warranty. 6. If an inspection of the product by BEHRINGER shows that the defect in question is not covered by the warranty, the inspection costs are payable by the customer. 7. Products which do not meet the terms of this warranty will be repaired exclusively at the buyers expense. BEHRINGER will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notification, BEHRINGER will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order. 5 WARRANTY TRANSFERABILITY This warranty is extended exclusively to the original buyer (customer of retail dealer) and is not transferable to anyone who may subsequently purchase this product. No other person (retail dealer, etc.) shall be entitled to give any warranty promise on behalf of BEHRINGER. 6 CLAIM FOR DAMAGES Failure of BEHRINGER to provide proper warranty service shall not entitle the buyer to claim (consequential) damages. In no event shall the liability of BEHRINGER exceed the invoiced value of the product. 7 OTHER WARRANTY RIGHTS AND NATIONAL LAW 1. This warranty does not exclude or limit the buyers statutory rights provided by national law, in particular, any such rights against the seller that arise from a legally effective purchase contract. 2. The warranty regulations mentioned herein are applicable unless they constitute an infringement of national warranty law. * Customers in the European Union please contact BEHRINGER Germany Support for further details.

Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. ADAT, AKM as well as the names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use neither constitutes a claim of the trademarks by BEHRINGER nor affiliation of the trademark owners with BEHRINGER. BEHRINGER accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not agents of BEHRINGER and have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER is a registered trademark. ALL RIGHTS RESERVED. 2004 BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany. Tel. +9206 0, Fax +9206 4903
FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION
Responsible party name: Address: MUSIC Group Services USA, Inc. 18912 North Creek Parkway, Suite 200 Bothell, WA 98011, USA Phone: +Fax: +673 7647

Phone/Fax No.:

complies with the FCC rules as mentioned in the followingparagraph: This equipment has been tested and found to comply with the limits for a ClassB digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the followingmeasures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician forhelp. This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. Important information: Changes or modifications to the equipment not expressly approved by MUSIC Group can void the users authority to use the equipment.

ULTRAMATCH PRO SRC2496

Technical Specifications

Version 1.2 Juni 2004

ENGLISH

ULTRAMATCH PRO
Ultra High-Resolution 24-Bit/96 kHz A/D-D/A, Sample Rate and Format Converter

SRC2496

s High-end 24-bit/96 kHz A/D and D/A converters for ultimate signal purity
s Converts any sample rate between 31 and 100 kHz into 32, 44.1, 48, 88.2 or 96 kHz sample rates s Flexible format conversion between AES/EBU and S/PDIF (coaxial or optical) s Ultra high-quality signal output with 16-, 20- or 24-bit resolution s Universal sample rate synchronization via wordclock or digital input s Allows parallel A/D and D/A conversion at identical sample rate
s Precise metering for input/output signal as well as powerful headphone monitoring s Dithering automatically adapted for word length conversion
s Allows direct manipulation of emphasis bits and other significant, digitally transmitted information in order to record virtually any audio signal s High-precision quartz clock generator removes jitter and corrects off-tune, incorrect sample rates s Extremely fast tracking supports varispeed applications s Self-adjusting anti-aliasing filter with exceptionally steep edge
s Consumer devices (e.g. DAT recorders) can be synchronized with the studio clock s All three outputs (XLR, RCA, optical) simultaneously operational (splitter) s Inputs separately selectable (patchbay functionality) s All digital inputs/outputs balanced and galvanically isolated s All analog inputs/outputs servo-balanced s Conceived and designed by BEHRINGER Germany. Made in China.
* We want to point out that the copyright of third parties must not be infringeddespite the possibility of removing the copy protect bit with the help of the ULTRAMATCH PRO! This device was not developed to produce unauthorized copies! 2

SPECIFICATIONS

Synchronization Internal sampling rates 32, 44.1, 48, 88.2, 96 kHz Synchronization via digital input and wordclock accepts all sampling rates between 31 and 100 kHz, automatic synchronization by PLL Digital input 1 Type Input impedance Nominal input level Digital input 2 Type Input impedance Nominal input level Digital input 3 Type Synchronization input Type Input impedance Standard Nominal input level Digital output 1 Type Output impedance Nominal output level Digital output 2 Type Output impedance Nominal output level Digital output 3 Type Analog inputs Type Input impedance Converter Input level S/N-Ratio Analog outputs Type Output impedance Converter Output level S/N Ratio Jitter suppression Jitter permitted at input Internal jitter at input Internal jitter with external Synchronization Channel Status information in output signal Professional mode Professional, audio use, stereo, no emphasis or 50/15 s, Fs = 32, 44.1, 48, 88.2, 96 kHz Consumer mode Consumer, audio use, 2-channel, original material switchable, copy permit switchable, no emphasis or 50/15 s, Fs = 32, 44.1, 48 kHz; (88.2, 96 kHz not defined) Power supply Mains voltage U.S.A./Canada 120 V~, 60 Hz Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz General export model 120/230 V~, 50 - 60 Hz Power consumption 15 W Fuse 100 - 120 V ~: T 250 mA H 200 - 240 V ~: T 125 mA H Mains connection Standard IEC receptacle Dimensions/weight Dimensions Weight Shipping weight
XLR, transformer-balanced 110 ohms 0.2 V to 5 V, peak-to-peak
RCA, transformer-balanced 75 ohms 0.2 V to 5 V, peak-to-peak
Toslink, optical fiber cable
BNC 50 kohms Wordclock (1 x FS) 2 V to 6 V peak-to-peak
approx. 1 3/4" (44.5 mm) x 19" (482.6 mm) x 7 1/2" (190.5 mm) approx. 2 kg approx. 3.2 kg
XLR, transformer-balanced 110 ohms balanced 3.5 V peak-to-peak
RCA, transformer-balanced 75 ohms 0.5 V, peak-to-peak
Toslink, optical fibre cable
XLR, balanced 20 kohms 24-bit/96 kHz 128/64 times oversampling delta-sigma AKM A/D converter -4 dBu to +22 dBu for 0 dBFS, adjustable >105 dB
XLR, balanced 160 ohms 24 bit/96 kHz 128 times oversampling delta-sigma AKM D/A converter +16 dBu @ 0 dBFS >108 dB
>40 ns <2 ns <20 ns, 10 ns typ.
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
Technical specifications and appearance subject to change without notice. The information contained herein is correct at the time of printing. ADAT and AKM as well as the names of companies, institutions or publications pictured or mentioned and their respective logos are registered trademarks of their respective owners. Their use neither constitutes a claim of the trademarks by BEHRINGER nor affiliation of the trademark owners with BEHRINGER. BEHRINGER accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. Colours and specification may vary slightly from product. Products are sold through our authorised dealers only. Distributors and dealers are not agents of BEHRINGER and have absolutely no authority to bind BEHRINGER by any express or implied undertaking or representation. No part of this manual may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording of any kind, for any purpose, without the express written permission of BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER is a registered trademark. ALL RIGHTS RESERVED. 2004 BEHRINGER Spezielle Studiotechnik GmbH. BEHRINGER Spezielle Studiotechnik GmbH, Hanns-Martin-Schleyer-Str. 36-38, 47877 Willich-Mnchheide II, Germany Tel. +9206 0, Fax +9206 4903