Apogee AD-1000 Operating Manual page 48

"Listening tests have shown the Apogee UV22's 16-bit output is the closest to what we hear on our 20-bit
source. It's really like getting something for nothing.
"We chose the Ravel recording to test dithering schemes because of its wide dynamic range, distinct imag-
ing and deep sound stage. The piece opens with very low level tympani, high woodwinds and light strings and
slowly builds to a 250-voice and orchestra crescendo. Any change from the 20-bit source, especially in those
opening bars, is immediately apparent.
"All other systems changed the sound stage and the tonal balance. The Apogee UV22 holds the detail,
holds the soundstage and holds the tonal balance across the spectrum. The UV22 was very open and very
clean".
Michael further used the UV22 on a recent Brazilian project, Paraiso, featuring Gerry Mulligan and Jane
Dubo (October 1993 release, Telarc catalog number CD-83361).
"The UV22 makes all the difference in the world in fades to digital black.
"The reverb detail and stereo spread are amazing; it makes an overall improvement in the final product"
"In our system the UV22 kept the 24-bit signal perfectly clean with no step-type artifacts, all the way down
to –120 dB on our digital fader. Also, unlike some...noise shaping/dithering systems we've listened to, the
Apogee doesn't color the sound.
"Compared to other systems, or truncation, there is a solidity to the sound. Harmonics are in proper per-
spective with less 'sizzle', and the image is better preserved.
"Warner Bros. Records called me and said that they were going to put out a 20-bit version of Donald
Fagen's album, Kamakiriad, and would I please supervise the transfers. Our source was a 20-bit Mitsubishi X-86
tape of Donald's album.
"We played back the X-86 tape through the Sony Super Bit Map encoder and cut a CD and a CD master
tape for Warner Bros.
"Afterwards, we compared the Super Bit Map CD with the original 16-bit CD. The noise level actually
seemed to get louder on some cuts. The quality of the noise floor seemed to change with the signal content.
The quality of the lead vocal seemed to get grainier. With our source material, the SBM version of the CD was
not any better than the straight 16-bit CD. Maybe worse.
"We performed the same test with the Apogee UV22; we made a CD master tape and a CD of the 20-bit
X-86 tape through the UV22. We listened to all three discs, the 16-bit, the SBM, and the UV22. The UV22 ver-
sion was by far the best. The voice was crystal clear, the noise floor was lower than that on the 16-bit CD, and
there was no noise modulation by the program material. It was significantly better than the 16-bit CD, and the
difference between the UV22 and the SBM version was like night and day.
"We sent the UV22 tapes to Warner Bros. for the 20-bit version of Donald's album. If there is going to be
an expensive gold-plated 20-bit version, it should sound better than the 16 bit CD, right?
"The results are that [with UV22] you can hear close to 20-bit resolution from a 16-bit CD without any spe-
cial decoding hardware. If you get a chance, listen to both of them and check out the difference. It is amazing."
"UV22 is the closest thing to the 20-bit source that I have heard."
Bob had a chance to put our prototype UV22 through its paces with various program material he was working
on. He had used several types of material in the 1⁄2-inch 2-track analog format, and had spent some time with
our UV22 on the song Nobody's Hero from the forthcoming Rush album Counterparts on Anthem Records. This
is what he had to say about the UV22:
"The Apogee UV22 is very impressive... it's the last word in redithering."
"The Apogee UV22 is the closest thing to to the 20 bit source that I have heard. It even makes inexpensive
D to A's sound twice as good."
AD-1000 Operating Manual
"UV22 kept the 24 bit signal perfectly clean...
all the way down to –120dB."
—Ted Jensen, Sterling Sound, New York
"You can hear close to 20 bit resolution from a 16-bit CD
without any special decoding hardware... it's amazing."
—Roger Nichols, Engineer and Producer, Nashville
—Bob Ludwig, Gateway Mastering, Portland
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