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Universal Audio 2192 Manual

Master audio interface
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Model 2192
Master Audio Interface
Universal Audio Part Number 65-00036
Universal Audio, Inc.
Customer Service & Tech Support: 1-877-MY-AUDIO
Business, Sales & Marketing: 1-866-UAD-1176
www.uaudio.com
FCC Compliance
This equipment has been tested and found to comply with the limits for a Class B 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.

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Summary of Contents for Universal Audio 2192

  • Page 1 Model 2192 Master Audio Interface Universal Audio Part Number 65-00036 Universal Audio, Inc. Customer Service & Tech Support: 1-877-MY-AUDIO Business, Sales & Marketing: 1-866-UAD-1176 www.uaudio.com FCC Compliance This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules.
  • Page 2 2192, 1176LN, 2-1176, 6176, LA-2A, 2-LA2, LA-610, LA-3A, 2-610, 710, 4110, 8110, SOLO/110, SOLO/610, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. ADAT® is a registered trademark of Alesis Corporation. Other company and product names mentioned herein are trademarks of their respective companies.

  • Page 3: A Letter From Bill Putnam, Jr

    Developing the Model 2192—as well as Universal Audio’s entire line of quality digital and analog audio products designed to meet the needs of the modern recording studio while retaining the character of classic vintage equipment—has been a very special experience for me and for all who have been involved.

  • Page 4: Important Safety Instructions

    Important Safety Instructions ___________________________________________________________ Before using this unit, be sure to carefully read the applicable items of these operating instructions and the safety suggestions. Afterwards, keep them handy for future reference. Take special care to follow the warnings indicated on the unit, as well as in the operating instructions. 1.

  • Page 5: Table Of Contents

    Table of Contents __________________________________________________________ A Letter From Bill Putnam, Jr........................Important Safety Instructions ......................... Two Page, Two Minute Guide To Getting Started ..................Front Panel ............................... Rear Panel ..............................Interconnections ............................. Typical Mastering Setup ......................Typical DAW Setup ........................Typical 8-Track Pro Tools HD Setup ....................

  • Page 6: Two Page, Two Minute Guide To Getting Started

    It will tell you everything you need to know to get your Universal Audio 2192 up and running, without bogging you down with details. Of course, even the most expert of us has to crack a manual every once in awhile. As the saying goes, “as a last resort, read the instructions.”...
  • Page 7 The Two Page, Two Minute Guide To Getting Started __________________________________________________________ Step 5: In addition to providing a high-quality master clock for your entire studio (or distributing an external clock to your digital equipment), the 2192 can be used for a variety of functions, including analog to digital (A/D) conversion, digital to analog (D/A) conversion, and transcoding (converting between different digital formats).

  • Page 8: Front Panel

    Front Panel __________________________________________________________ (1) Input Level Meters - This pair of LED level meters indicates the signal strength of the stereo  analog inputs relative to the calibrated 0dBFS level. ( see page 31 for more information) (2) Output Level Meters - This pair of LED level meters indicates the signal strength at the stereo ...
  • Page 9 Front Panel __________________________________________________________ Note that the clock source can be independent of the signal used for digital to analog conversion. For example, you could select AES/SPDIF as the clock source but perform D/A conversion on the incoming ADAT optical signal by setting the Analog Outputs DAC Source Select knob ( ...
  • Page 10 Front Panel __________________________________________________________ (4) Sample Rate Select - This six-position knob selects the sample rate used for A/D and D/A conversion. Sample rates of 44.1, 48, 88.2, 96, 176.4, and 192kHz are all supported by the 2192.  The 2192 does not perform sample rate conversion! The function of the Sample Rate Select knob varies according to the setting of the Clock knob.
  • Page 11 Front Panel __________________________________________________________ source is external, a clock signal must be present at the input selected by the Clock knob. Note: After the Power Switch is turned on, the Clock Status lamp stays off for about 12 seconds while the 2192 power conditioner and analog conversion circuits perform their initial calibrations.
  • Page 12 Front Panel __________________________________________________________ (8) Single/Dual switch - The Single/Dual switch specifies whether AES/EBU Single Wire or Dual Wire mode is used. (  see page 28 for more information) When the button is pressed in, AES/EBU Dual Wire mode is used. When the button is out, AES/EBU Single Wire mode is used. Note: This switch has no effect on the SPDIF input.

  • Page 13: Rear Panel

    Rear Panel __________________________________________________________ (1) AC Power Connector Connect a standard, detachable IEC power cable (supplied) here. The third grounding pin is connected to the chassis internally.The 2192’s auto-sensing, multi-stage filtered,  universal power supply accepts input power from 100VAC to 240VAC, at 50Hz to 60Hz. ( see page 38 for more information) (2) AES Digital Input A - This female XLR connector (pin 2 hot) receives incoming 24-bit stereo...
  • Page 14 Rear Panel __________________________________________________________ (6) S/PDIF Digital Input - This phono (RCA) connector accepts incoming 24-bit S/PDIF digital audio signals of up to 192kHz from compatible hardware (the copy-protection, pre-emphasis, and consumer/professional bits are ignored). This input can be used for either digital audio with clock or ...
  • Page 15 Rear Panel __________________________________________________________ (12) ADAT Optical Output - This optical connector transmits digital ADAT optical data to external  hardware devices. ( see page 29 for more information) (13) Analog Line Inputs - Analog signals are input to the left and right channels of the 2192 A/D converter via these balanced line-level female XLR connectors.

  • Page 16: Interconnections

    Interconnections __________________________________________________________ Typical Mastering Setup Typical Digital Audio Workstation Setup - 12 -...

  • Page 17: Typical 8-Track Pro Tools Hd Setup

    Interconnections __________________________________________________________ Typical 8-Channel Pro Tools HD Setup - 13 -...

  • Page 18: Applications

    Applications: Analog to Digital Conversion __________________________________________________________ Using the 2192 for Analog To Digital Conversion The 2192 enables incoming analog signals to be converted to digital, a process known as analog to digital (A/D) conversion. The resulting digital signal is always in 24-bit format, is sampled at any of six user-selectable rates (44.1, 48, 88.2, 96, 176.4, or 192kHz), and is sent to all rear panel digital outputs (AES, SPDIF, and ADAT optical) simultaneously.

  • Page 19: A/D Conversion Using Internal Clock

    Applications: Analog to Digital Conversion __________________________________________________________ A/D Conversion Using Internal Clock In this configuration, the 2192 is the master system clock. Four word clock outputs are provided so the 2192 can be used as the master system clock without cascading the clock through external devices, which can degrade the clock signal.

  • Page 20: A/D Conversion Using External Clock

    Applications: Analog to Digital Conversion __________________________________________________________ A/D Conversion Using External Clock In this configuration, the 2192 is synchronized (slaved) to an external master digital source clock. Two separate word clock inputs, as well as AES/EBU, S/PDIF, and ADAT optical, can be used as clock sources for external synchronization.

  • Page 21: Digital To Analog Conversion

    Applications: Digital to Analog Conversion __________________________________________________________ Using the 2192 for Digital To Analog Conversion The 2192 enables incoming digital signals (arriving via its rear panel AES, SPDIF, or ADAT optical inputs) to be converted to analog, a process known as digital to analog (D/A) conversion. All 24 bits of the digital input signal are converted, at sampling rates of 44.1, 48, 88.2, 96, 176.4, or 192kHz.

  • Page 22: D/A Conversion Using Digital Audio Source Clock

    Applications: Digital to Analog Conversion __________________________________________________________ D/A Conversion Using Digital Audio Source Clock In this configuration, the 2192 is synchronized to the clock signal that is embedded within the digital audio signal that is being converted to analog. To perform D/A conversion using the digital audio source clock: 1.

  • Page 23: D/A Conversion Using External Word Clock

    Applications: Digital to Analog Conversion __________________________________________________________ D/A Conversion Using External Word Clock In this configuration, D/A conversion is accomplished while the 2192 is synchronized to one of its two independent Word Clock inputs. To perform D/A conversion while synchronized to word clock: 1.

  • Page 24: D/A Conversion Of Aes/Spdif Audio Using Adat Clock

    Applications: Digital to Analog Conversion __________________________________________________________ D/A Conversion of AES/SPDIF Audio Using ADAT Clock In this configuration, an incoming AES or SPDIF digital audio signal is converted to analog while the 2192 is synchronized to the clock arriving at the ADAT input. (The audio portion [if any] of the ADAT signal is ignored.) To perform AES or SPDIF D/A while synchronized to ADAT clock: 1.

  • Page 25: D/A Conversion Of Adat Audio Using Aes/Spdif Clock

    Applications: Digital to Analog Conversion __________________________________________________________ D/A Conversion of ADAT Audio Using AES/SPDIF Clock In this configuration, an incoming ADAT digital audio signal is converted to analog while the 2192 is synchronized to the clock of an AES or SPDIF signal. (The audio portion [if any] of the external AES or SPDIF signal is ignored.) To perform ADAT D/A while synchronized to AES or SPDIF clock: 1.

  • Page 26: Transcoding (Converting Digital Formats)

    Applications: Transcoding __________________________________________________________ Using the 2192 for Transcoding (Converting Digital Formats) The 2192 can transcode (convert) digital audio data between AES/EBU, S/PDIF, and ADAT optical formats in real time. The transcoded digital audio input signal is output to all 2192 digital audio outputs simultaneously.

  • Page 27: Transcoding Using Digital Audio Source Clock

    Applications: Transcoding __________________________________________________________ Transcoding Using Digital Audio Source Clock In this configuration, the 2192 is synchronized to the clock signal that is embedded within the digital audio source signal that is being transcoded. To perform transcoding using the digital audio source clock: 1.

  • Page 28: Transcoding Using Alternate Clock

    Applications: Transcoding __________________________________________________________ Transcoding Using Alternate Clock In this configuration, the 2192 is synchronized to an external clock master. The digital audio source device can be synchronized to the same clock, or to the 2192. To perform transcoding while using an alternate source clock: 1.

  • Page 29: The Technical Stuff

    When I get music into Pro Tools|HD at 192kHz with external converters like the Universal Audio 2192, it sounds analog. Analog to me is not hearing the system, it’s music that sounds natural. I’m no longer distracted by the limitations and distortions of low sampling and bit rates.”...

  • Page 30: Digital Audio Clocking Primer

    The Technical Stuff __________________________________________________________ Digital Clocking Primer Digital clocking is a complicated issue, with a number of important aspects that are often not very well understood. First and foremost, a digital clock is used to maintain synchronization between different digital devices. There are two primary purposes for clock synchronization: 1.
  • Page 31 The Technical Stuff __________________________________________________________ Clock jitter in digital transmission can be caused by a bad source clock, inferior cabling or • improper cable termination, and/or signal-induced noise (called “pattern-jitter” or “symbol- jitter.”) Digital signal formats like AES/EBU, S/PDIF, and ADAT all embed a clock in the digital signal so the receiving device can synchronize to the transmitted data bits correctly.

  • Page 32: 2192 Overview

    The Technical Stuff __________________________________________________________ Model 2192 Overview The 2192 Master Audio Interface is kind of like the Swiss Army knife of digital audio. It provides two channels of analog to digital (A/D) conversion, two channels of digital to analog (D/A) conversion, a format transcoder, and a word clock generator/distribution amplifier...
  • Page 33 The Technical Stuff __________________________________________________________ SPDIF Digital I/O The 2192 accepts incoming 24-bit S/PDIF digital audio signals up to 192kHz from compatible hardware. The copy-protection, pre-emphasis, and consumer/professional bits are ignored. The SPDIF input can be used for either digital audio with clock or for digital clock only. When the Clock knob ...
  • Page 34 The Technical Stuff __________________________________________________________ Subclocking/Overclocking Subclocking occurs if the 2192 is synchronized to an external clock that is running at 2x or 4x the 2192’s sample rate. Overclocking occurs if the 2192 is synchronized to an external clock that is ...
  • Page 35 The Technical Stuff __________________________________________________________ Metering Level metering for each of the stereo input and output channels is provided by its own front-panel  10-segment LED display. ( see #1 and #2 on page 4) Each channel has timed peak/hold digital clip/maximum output indicators.

  • Page 36: 2192 Circuitry

    The Technical Stuff __________________________________________________________ Model 2192 Circuitry The 2192 Master Audio Interface was designed with two primary goals: the highest-quality audio fidelity and ease of use. Specifications can be useful but are sometimes misleading because they don’t always tell the whole story. Something can look great on paper, but still sound bland.
  • Page 37 The Technical Stuff __________________________________________________________ errors caused by transients, overshoot, intermodulation distortion, etc. are big and must be corrected for by huge amounts of negative feedback. However, the intermediate circuit elements within the op-amp don’t get corrected immediately because these devices don’t have the required infinite frequency response assumed by the classical circuit models.
  • Page 38 The Technical Stuff __________________________________________________________ bias points and signal levels of our all discrete, Class-A op-amp analog circuitry to provide the perfect transition from pristine nominal levels to hard-driven high levels so the 2192 still produces musical results before digital clipping occurs. Leaving the signal pristine until harsh clipping occurs introduces aliasing and isn’t the way audio gear is supposed to work.

  • Page 39: Maintenance Information

    The Technical Stuff __________________________________________________________ Maintenance Information Line Trim Procedure To calibrate the analog inputs, a digital signal meter and an accurate analog reference generator with low impedance outputs are required. To calibrate the analog outputs, a digital signal generator and an accurate analog dB level meter with balanced inputs are required.

  • Page 40: Output Level Meter Calibration

    The Technical Stuff __________________________________________________________ Output Level Meters Calibration Having completed the output trim procedure as described on the previous page, the output meters will need to be recalibrated. (Note that the input trims have no effect on the meters, so no calibration is needed after input trims are adjusted.) The factory default has the unit set so that a 0dBFS digital level equals an analog level of +22dB.
  • Page 41 The Technical Stuff __________________________________________________________ Figure 4: Output Level Meter Calibration Trimpots  Important: Do not adjust the Offset trimpots! These settings are optimized at the factory. - 37 -...

  • Page 42: Ground Isolation Jumpers / Fuse / Voltage Selector

    The Technical Stuff __________________________________________________________ Ground Isolation Jumpers  Changes to internal jumpers should only be made by qualified personnel. Be sure to disconnect AC power before opening the unit! Each of the eight balanced connectors (the analog and AES digital I/O) can individually isolate pin 1 from ground if desired via an internal jumper block.

  • Page 43: Block Diagram

    The Technical Stuff __________________________________________________________ Block Diagram - 39 -...

  • Page 44: Dynamic Range And Frequency Response Diagrams

    The Technical Stuff __________________________________________________________ Dynamic Range: A/D Dynamic Range: D/A - 40 -...
  • Page 45 The Technical Stuff __________________________________________________________ Frequency Response - 41 -...

  • Page 46: Glossary Of Terms

    Glossary of Terms __________________________________________________________ A/D - An acronym for “Analog to Digital,” referring to the conversion of analog signal to digital. ADAT - An acronym for “Alesis Digital Audio Tape.” ADAT was the name given to the Alesis-branded products of the 1990s which recorded eight tracks of digital audio on a standard S-VHS video cassette. The term now generally refers to the 8-channel optical connection that is used in a wide range of digital products from many manufacturers.
  • Page 47 Glossary of Terms _______________________________________________________________________ D/A - An acronym for “Digital to Analog,” referring to the conversion of digital signal to analog. DAW - An acronym for “Digital Audio Workstation”—that is, any device that can record, play back, edit, and process digital audio. dB - Short for “decibel,”...
  • Page 48 Glossary of Terms __________________________________________________________ Internal clock - A clock signal derived from onboard circuitry. (see “Clock”) I/O - Short for “input/output.” kHz - Short for “kiloHertz” (a thousand Hertz), a unit of measurement describing a thousand analog audio cycles (or digital samples) per second. (see “Hz”) Jitter - Refers to short-term variations in the edges of a clock signal, caused by a bad source clock, inferior cabling or improper cable termination, and/or signal-induced noise.
  • Page 49 Glossary of Terms __________________________________________________________ Sample rate conversion - The process of altering a digital signal’s sample rate to a different sample rate. The 2192 does not perform sample rate conversion. Single Wire - (sometimes referred to as “Double Fast”) The newest revised format of AES/EBU data transfer that accommodates sample rates of 176.4kHz or 192kHz.

  • Page 50: Recall Sheet

    Recall Sheet _______________________________________________________________________ - 46 -...

  • Page 51: Specifications

    Specifications _______________________________________________________________________ Analog: Inputs Connectors 2x balanced XLR female connectors Type DC coupled, dual-differential Common-mode rejection ratio (CMRR) >90dB Impedance ~1.5k ohms Maximum input level +31dBu Outputs Connectors 2x balanced XLR male connectors Type DC coupled, dual-differential Impedance ~95ohms Maximum output level +23dBu Frequency Response (analog input to ADC to DAC +/- 0.1dB, 10Hz to 40kHz, -1dB at 74kHz...
  • Page 52 Specifications __________________________________________________________ Digital: 2-Channel S/PDIF Connectors Dual stacked RCA Type Unbalanced, transformer driven output, AC coupled input 2-Channel AES/EBU Connectors Transformer isolated, balanced XLR (x4) Single wire and dual-wire modes (for sample rates of 176.4kHz and 192kHz) Input bits SCMS Ignored Preemphasis Ignored...
  • Page 53 Specifications _______________________________________________________________________ Dynamic range (measured using 118dB (A-weighted), 115dB (unweighted)  -38dBu = -60dBFS input at 1kHz) see page 38) Frequency response (relative to 1kHz) +/- 0.02dB, 10Hz to 20kHz @ Fs=44.1kHz +/- 0.04dB, 10Hz to 40kHz @ Fs=96kHz Phase response <0.1°, 10Hz to 1kHz, -1.0°...
  • Page 54 (This page intentionally left blank)

  • Page 55: Additional Resources/Product Registration/Warranty/Service & Support

    Warranty The warranty for all Universal Audio hardware is one year from date of purchase, parts and labor. Service & Support Even gear as well designed and tested as ours will sometimes fail. In those rare instances, our goal here at UA is to get you up and running again as soon as possible.

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