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Table of Contents
Summary of Contents for TC Electronic BMC-2
- Page 1 BMC-2 JET CLOCK DAC & MONITOR CONTROL USER’S MANUAL...
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Page 3: Table Of Contents
INTRODUCTION BMC-2 and Jitter Rejection ....14 Table of Contents ......3 BMC-2 Design Philosophy . -
Page 4: Introduction
Macs and most PCs used for audio production – just attach the supplied 12V DC But it’s not all about DAC and Level Control – BMC-2 also power adapter. puts user-definable reference levels at your fingertips. You... -
Page 5: Setup Example
SETUP EXAMPLE... -
Page 6: Overview - Rear Panel
OVERVIEW – REAR PANEL Power In Analog Outputs SPDIF I/O Use the supplied 12V DC Balanced analog outputs for 24 Bit SPDIF/AES3-id input and output on power supply. active monitors, amplifier or mixer. RCA connectors. Phones TOS & ADAT 1/4" jack connection for headphones. Lightpipe inputs and outputs on standard TOSLINK connectors (TOS: Channels 1-2 –... -
Page 7: Overview - Top
OVERVIEW – TOP... -
Page 8: Operation
Every pot has a slightly different transfer function, so the above numbers are guidelines only. A more precise When switching between synchronous input sources, way of knowing the gain is to check the LED dot on the BMC-2 performs the operation as a cross-fade without... - Page 9 Note that input sample rates may well be identical without being synchronous. BMC-2 constantly monitors and indicates if inputs are synchronous to the one currently selected. When the LOCK LEDs are lit steadily, this indicates that the input signals are synchronous.
- Page 10 OPERATION Selecting ADAT Sample Rate: a mix more predictable (because we aim at different As ADAT double sample rate format is not detected spectral targets when reproduction level changes). automatically, you must select this manually if required. Press and hold the ADAT button for approximately 3 Calibration is typically performed using pink noise at a seconds to select double sample rate (88.2 or 96 kHz).
- Page 11 OPERATION – Press and hold the REF button for five seconds Assigning ALT to a digital output of your choice: until the meters blink. Do not release the REF – First disengage ALT. ALT is disengaged when the button until the meters are lit steadily again. ALT button’s LED is not lit.
- Page 12 The PHONES knob controls the headphone output, With REF disengaged (LED unlit), set the desired unless BMC-2 is in Ref mode. When Ref mode is level using the Rotary knob and the headphone pressed, speaker and headphone outputs operate at level control.
- Page 13 When using an external loudness or level meter in connection with BMC-2, it is essential that the If Mono or Side monitoring is selected, the left LED bar big ROTARY CONTROL knob is not present in shows the Mono component, while the right LED bar the signal chain.
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Page 14: Appendix
A steady digital clock is crucial to the sound quality, especially when one of the above conversions is performed. The clock stability and jitter rejection of BMC-2 is based on technology from TC System 6000, providing a performance strikingly better than equipment many times the price of BMC-2. -
Page 15: Bmc-2 Design Philosophy
One important feature of the BMC-2 is that it can avoid noise when switching between different sample rates. But thanks to the sample rate memory lock, BMC-2 can... -
Page 16: Wiring Diagrams
APPENDIX – WIRING DIAGRAMS In setups where the BMC-2 balanced outputs are connected to unbalanced equipment, it is possible to suppress noise by using a cable wired as illustrated below. Wiring for connecting the BMC-2’s balanced XLR outputs to unbalanced equipment with 1/4" input jacks. - Page 17 APPENDIX – WIRING DIAGRAMS When you are feeding an AES3 signal to the SPDIF/AES3 input of the BMC-2, or when you are feeding another device’s AES3 input from the SPDIF/AES3 output of the BMC-2, we recommend placing a small circuit between the units to ensure optimal cable length and signal integrity.
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Page 18: Calibrated Listening
APPENDIX – CALIBRATED LISTENING Correctly calibrated REF level is essential for mixing. Audio for different audiences requires different ranges in dynamics (please refer to the left-hand illustration below). Without calibrated listening in the studio, you won’t be able to judge the dynamic range of a program/track reliably. Dynamic Range Tolenrance of a typical audio consumer Headroom (peak) - Page 19 Dolby etc.) and broadcast, the loudness advantage of “squeezed” is disappearing – leaving only distortion and a wimpy sound. Calibrated monitoring with BMC-2, on the other hand, ensures consistent listening conditions enabling you to always deliver reliable results in the studio - no matter...
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Page 20: Technical Specifications
TECHNICAL SPECIFICATIONS Digital Inputs and Outputs Connector (S/PDIF, AES3-id compatible): RCA Phono, BNC adapter included, 75 Ohm, 1 Vpp (terminated) Formats (S/PDIF and TOSLINK): S/PDIF (24-bit), IEC 958, Pro-status bits Connector (ADAT® or TOSLINK): Optical Pipe Format (ADAT®): Ch. 1 to 4 @ 48 kHz, Ch. 1 to 4 SMUX @ 96 kHz Digital IO Engine: TCAT DICE JR, handling all IO formats Clock and Jitter... - Page 21 TECHNICAL SPECIFICATIONS General D to A Conversion: 24 bit, 128 x Oversampling Bitstream Dimensions (W x H x D): 5.5" x 2.5" x 6.9" (140 x 64 x 176 mm) D to A Delay: 0.40 ms / 0.20 ms @ 48 kHz / 96 kHz Weight: 1.8 lb.