current_hardwareManual
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1. 10 2 MIXING 6 10 monitors at 10 Nyquist theorem 8 oversampling 9 6 9 sample rates software pgrade surni h meret aR eit Laake aE 2 7 Word lokria coin EETA 12 eenean enan nA aAA RE EEE AEEA 11 A 1 EC 2 96kHz A D D A upgrade appendix A Important Safety Instructions About the EC 2 The EC 2 is an optional 96kHz sampling rate analog Safety symbols used in this hardware upgrade designed exclusively for the roduct Alesis ADAT HD24 It provides 24 simultaneous P channels of balanced 4 dBu analog audio inputs and outputs via 48 1 4 TRS type jacks The EC 2 is installed directly inside the HD24 s rear panel in This symbol alerts the user that there are place of the original A D and D A boards for important operating and maintenance simple system integration and flexibility With the instructions in the literature accompanying EC 2 installed the HD24 can record and play back this unit digital audio at the 96kHz or 88 2 kHz s2. es remove a remove N Drive 1 Drive 2 EC 2 Manual DC power cable appendix A EC 2 96kHz A D D A upgrade OR Install the new EC 2 PCBs NOTE The Analog Input and Analog Output PCBs look very similar Verify that you have 7 Find the daughterboard in the EC 2 package it j has two 26 pin flexible cables attached to it the correct PCB by looking for the part number Insert the ribbon connector labeled J4 TO and part name in the text in the corner of the MAIN PCB on the daughterboard into the 26 PCB pin header labeled on the main PCB as J15 TO A D PCB 11 Place the Analog Output PCB in the bottom set 8 Insert the ribbon connector labeled J3 TO ol tear pane holes Mabsled SUPOT ow ihe MAIN PCB on the daughterboard into the 26 rear panel with the components one down pin header labeled on the main PCB as J14 TO o that ES read whi te Fee D A PCB which says D A PCB and Analog Output Put a few of the washers and nuts on the 1 4 The headers on the main PCB sit near the back jacks to hold the PGB in place Screw them center where the old input output PCBs used to down all the 1 not tighten yet it plug in The red side of each cable should face the should be justa little loose right of the HD24 closest to the fan Verify that the cables don t have any twists in them and that 12 Place the Anal
3. inputs and outputs carries a stereo signal regardless of sample rate The only difference at the high sample rates is that a second pair of ADAT Optical cables must be used to connect the ADAT OPTICAL 9 16 jacks on the back of the HD24 to the ADAT OPTICAL 5 8 jacks on the back of the AI 4 This is because the ADAT Optical interface transmits four channels of high speed data in the space used for eight channels of standard speed data Remember that if you re transferring more than eight tracks at a time to the HD24 and must do multiple passes there should be some synchronization via ADAT Sync at the same time If the workstation doesn t have ADAT Sync you should use multiple Al 4s to download all tracks at the same time Word clock In a simple transfer between the HD24 and the AI 4 a separate word clock connection is not necessary because word clock is contained within the ADAT Optical signal However in more complex multipath situations the 4 HD24 and all other digital devices in the studio should be connected to a separate word clock generator and set to use this external word clock source as the timing reference A 12 EC 2 Manual Specifications For the Alesis HD24 with EC 2 96 kHz Sample Rate Upgrade A D and D A Converter Boards AUDIO INPUT Input Connectors Nominal Input Level Maximum Input Level Input impedance A D converter Analog filter Latency analog in to digital out AUDIO O
4. output delays see the Specifications section on page 13 of this manual for latency figures In most cases this is only critical when using different interfaces simultaneously for example the analog inputs of a computer interfaceyplus its ADAT Optical inputs receiving the output of the HD24 In extremely critical applications you should test latency matching by using a 20kHz burst tone sent to all inputs simultaneously viewing the start point of the waveform bursts on the screen of a digital audio workstation then adjusting the start times of all tracks to compensate A 11 EC 2 96kHz A D D A upgrade appendix A _ _ _ _ __ a nnn nn nn nn nn Ts en 6 Using the HD24 EC 2 with the Alesis Al 4 AES EBU Interface The Alesis AI 4 AES EBU Digital Audio Interface is a single rack space unit available from your Alesis dealer that lets you connect ADAT Optical input and output signals to industry standard AES EBU digital signals eight channels at a time The AI 4 is designed to handle standard operation as well as high sample rates 88 2 96kHz With the AI 4 you can e Export tracks from the HD24 to mastering units such as the Alesis MasterLink DAT recorders and workstations e Import tracks to the HD24 from any recorder or source with an AES EBU interface Using the 4 at 88 2 96 kHz The 4 is ALWAYS capable of eight channel conversion simultaneously each of the AI 4 s four AES EBU
5. A 10 If you ve done all the above and confirmed your studio s capability of reproducing the full range of frequencies the HD24 EC 2 can record you now have a truly state of the art studio that s capable of mastering audiophile quality DVDs and SACDs Though the extra octave of high end may not be audible to the majority of listeners or even to you especially if you ve been listening to loud music for too many years you can be assured that what you re recording will stand the test of time for all listeners Audio technology won t get significantly better than this Good luck and thank you for using the ADAT HD24 with the EC 2 96 kHz Upgrade EC 2 Manual appendix A EC 2 96kHz A D D A upgrade OR Using the HD24 EC 2 with computer workstations and digital mixers Because the EC 2 upgrade provides 24 high quality inputs and outputs it can be used as an external converter to extend the number of analog inputs and outputs of any computer workstations and digital mixers that feature an ADAT Optical interface When using it as an A D converter press the ALL INPUT button with INPUT SELECT set to ANALOG when using it as a D A converter set INPUT SELECT to DIGITAL Remember that for an input or output to be active the current Song must be initialized for the proper number of tracks even if you re not recording or playing back the HD24 itself For more information see pages 39 40 in chapter 3 of the HD24 manua
6. AI 4 AES EBU 12 Specificati nS sisisi i iien resins 13 Index 12 channel 6 AES EBU Digital Audio Interface K Deena 12 Analog 5 Analog Output D A board h d dies 5 Antialiasing 5 8 anti static during 4 o aaa aieeaa ean 8 daughterboard 3 DC power cable 6 Digital inputs and outputs at high 6 digital mixers at high sample 11 8 11 level change in 7 EC 2 Manual low pass filters 10 MasterLink 0 12 65
7. EC 2 96kHz Sample Rate Upgrade A D and D A Converter Cards for the ADAT HD24 Hard Disk Recorder OWNER S MANUAL VERSION 1 0 APPLIES TO ADAT HD24 Software VERSION 1 05 AND ABOVE ALESIS EC 2 96kHz A D D A upgrade appendix A MMMM 2002 Alesis All rights reserved Reproduction in whole or in part is prohibited Specifications Subject To Change Without Notice 7 51 0107 A 6 2002 EC 2 Manual appendix A EC 2 96kHz Upgrade Cards This document covers only those aspects unique to the EC 2 cards and should be kept with the HD24 manual Table of Contents Important Safety 2 Safety symbols used in this 2 CE Declaration of 2 About the EC 2 2 Installing the 21 3 Using the EC 2 6 Inputs and 7 About the EC 2 s audio 8 88 2 96 7 8 Extending the frequency range of other studio 10 Using the HD24 EC 2 with computer workstations and digital 11 Using the HD24 EC 2 with the Alesis
8. Install the new DC power cable connecting the power supply main PCB daughterboard and hard drive PCBs as shown in the illustration on the previous page Run it from the daughterboard to the main PCB to the power supply then back from the power supply to the two drives Make sure the connectors snap into place securely 16 Replace the top panel To test for proper installation After installation you will be able to select ANALOG input as well as DIGITAL with SAMPLE RATE set to 88 1 and 96kHz 1 Plug the unit back in to AC power and turn on the HD24 2 Select or create an 88 2kKHz on96kHz song 3 Press INPUT SELECT until the INPUT group in the alphanumeric display indicates ANALOG This confirms that the HD24 has detected the EC 2 s presence If it s not detected unplug the unit and check all connections carefully disconnecting and connecting each then trying again to see if the EC 2 is detected Contact Alesis Product Support or an authorized service center if the cards are still not detected For important information about high resolution operation of the HD24 see Chapter 7 of your ADAT HD24 owner s manual page 65 About 96kHz 88 2kHz Sampling Operation An ADAT HD24 with EC 2 upgrade boards installed operates identically to a stock HD24 with respect to input arming selection and routing or normalling The only difference is that you will be able to use analog inputs and
9. UTPUT Output Connectors Nominal Output Level Maximum Output Level Output impedance D A converter Analog filter Latency digital in to analog out AUDIO PERFORMANCE Signal to Noise Ratio THD N Frequency Response 24 balanced 1 4 TRS jacks 4 dBu 1 23 15 dBFS 19 dBu 6 9 Vays 0 dBFS 10 kQ AKM 5393 2 4 order Butterworth filter w 96 kHz corner frequency Approximately 45 samples lt 1 ms 48 kHz 24 balanced 1 4 TRS jacks 4 dBu 1 23 Vas 15 dBFS 2 dBu when connected to unbalanced circuit 19 dBu 6 9 0 dBFS 13 dBu when connected to unbalanced circuit 220 AKM 4393 2 4 order Butterworth filter w 96 kHz corner frequency Approximately 32 samples lt 0 7 ms 48 kHz 112 dB A Weighted Analog In to Analog Out lt 0 002 22 44 kHz 0 50 dB Throughput delay analog in to analog out Sampling rates Channel to Channel Gain Match Approximately 77 samples 0 8 milliseconds 96 kHz 1 6 milliseconds 48 kHz 44 1 48 88 2 and 96 kHz each variable 12 0 50 dB All measurements done over a 22 Hz 22 kHz range with 1 kHz sine wave at 18dBu 1dBFS input unless otherwise specified Impedances are measured at 1 kHz 2002 Alesis Specifications Subject To Change Without Notice All rights reserved Reproduction in whole or in part is prohibited 7 51 0107 A 6 2002 EC 2 Manual A 13
10. al to those of the acclaimed Alesis MasterLink High Resolution Master Disk Recorder Even at standard sample rates the noise floor and distortion are lower than most units costing much more The noise floor is 10 dB lower than a stock HD24 and 20 dB lower than standard Compact Discs and the original 16 bit ADAT How mutch 15 10 dB From a laboratory standpoint 20 dB stands for 100 times the power so the dynamic range increase is analogous to the difference between a 10 watt amplifier and a 1000 watt amplifier Because of the logarithmic nature of human hearing to most people each 10 dB of difference sounds half as loud so the noise floor of the EC 2 will be perceived as 1 4 that of a standard CD The resulting 112 dB dynamic range is not only more than that found on a standard Compact Disc it is much wider than the acoustic dynamic range of even the best recording studios When you record analog audio directly into an ADAT HD24 upgraded with an EC 2 the recorder is literally no longer an issue in the overall sound quality Even dedicated and expensive outboard converters connected to the ADAT Optical ports of the HD24 have a tough time beating the specs of the EC 2 With proper recording techniques any noise or hiss you hear is coming from the self noise of the microphones or preamps not from the HD24 Why 44 1 48 kHz Many engineers believe that the sampling rates that have been used up to now are less than i
11. ampling rates in addition to the standard 44 1 and 48 kHz rates via its analog inputs and outputs In high This symbol warns the user of uninsulated sample rate mode the HD24 canrecord and play voltage within the unit that can cause back up to 12 tracks at a time dangerous electric shocks P The EC 2 expansion cards are designed for use only with HD24 software version 1 05 or higher If your HD24 has a lower software version visit our web site at www alesis com to download the CE Declaration of Conformity latest HD24 software and instructions for All safety warnings in the HD24 manual pages 7 through 10 apply to the EC 2 as well updating the HD24 via a standard MIDI file or via l Ethernet If you don t have a computer or MIDI the Alesis web site at www alesis com sequencer contact your Alesis dealer or local service center to help you with the upgrade For the CE Declaration of Conformity please visit The EC 2 upgrade boards are a replacement for the standard HD24 analog converter boards They do everything the standard boards do plus e 24 channels of High Performance 24 bit Analog Audio Conversion 24 channels of simultaneous input and output on 1 4 TRS jacks Superior DACs and ADCs allow the EC 2 to considerably surpass the standard converter boards in THD N and dynamic range e Support for Sample Rates up to 96kHz The EC 2 boards allow you to use analog inputs and outputs at 88 2kHz an
12. d 96kHz nominal sample rates e Simple hookup and operation The EC 2 is designed to install in the rear panel of the HD24 and connects to the main circuit board with the included multi pin ribbon connectors Once connected the HD24 will detect the cards presence and allow you to select analog inputs as the source when using the 88 2kHz and 96kHz sample rates A 2 EC 2 Manual appendix A EC 2 96kHz A D D A upgrade Installing the EC 2 into the HD24 Precautions The EC 2 boards should only be installed by a dealer or trained technician End users should only attempt installation if they have experience with this type of procedure If any of the following instructions are not clear to you please have a dealer or trained fechnician install it for you Improper installation by the end user may damage the boards and or your HD24 and may void your warranty Packing List In the EC 2 box you should find the following items e This manual P N 7 51 0107 E2 User s Manual 96 kHz Analog Input board P N 9 40 0256 E2 A D PCB 96 kHz Analog Output board P N 9 40 0257 E2 D A PCB e Daughterboard P N 9 40 0258 E2 D D PCB DC power cable P N 4 74 0031 E2 DC Power Cable Before you begin verify that you have everything in this packing list When you unwrap the components save the packing materials so you can use them to store the original parts EC 2 Manual Overview In the HD24 the co
13. d this way allowing high sample rate systems of up to 60 tracks two HD24s at ifferent sample rates When synchronizing multiple HD24s or an HD24 with tape based ADATs together it is possible to have an HD24 record and play back a high sample rate Song while other machines play back a standard sample rate Song In this case the sample rates must be even multiples of each other 44 1 with 88 2 or 48 with 96 kHz For example one HD24 can be running with 24 tracks of instrumental tracks at 48 kHz while a second HD24 records and plays back 12 tracks of vocals and leads at 96 kHz for a total of 36 tracks simultaneously Depending on the software version of your HD24 a warning message may appear or the sample rate indicator may flash indicating the mismatch in rates but this will not affect operation EC 2 Manual The inputs and outputs of the HD24 EC 2 are the same basic type as on a stock HD24 balanced 1 4 TRS jacks with a nominal 4 dBu level corresponding to 15 dBFS on the HD24 s meter In most installations there will be no difference in meter readings or levels after you install the EC 2 However there is a slight difference in the balancing circuitry that may affect some installations The EC 2 features true differential inputs and outputs with dual drivers on each output instead of the more common and less expensive impedance balanced sometimes called ground compensated meth
14. deal The industry standard sample rates were chosen at a time when digital storage was much more expensive than it is today The consumer rate of 44 1 kHz was the lowest possible sampling rate that could still record and play back the highest frequencies in the commonly accepted human hearing range of 20 Hz to 20 000 Hz At a44 1 kHz sampling rate a 650 MB Compact Dis would be able to play back 72 minutes without interruption the length ofBeethoven s Ninth Symphony In an era before digital mixing consoles and computer workstations the 48 kHz sampling rate was designated the professional rate for two reasons 1 theyslightly higher sampling rate allowed more room for the antialiasing filter to do its work and 2 professional recorders needed to be able to pitch down 12 and still play back the full 20 kHz frequency range The case for a higher sampling rate While the traditional sampling rates give excellent performance especially with today s converter technology there is criticism that these rates are too low to obtain truly audiophile quality Most of this criticism centers on the filters that are necessary to make digital audio work Antialiasing filters The Nyquist theorem upon which digital audio recording is based states that you can reliably record and play back any signal by sampling it at least two times the rate of the highest frequency you want to record However if there are any anal
15. endix A EC 2 96kHz A D D A upgrade OR However a digital filter with perfectly flat phase response still filters out frequencies above 20 or 22 kHz Good analog tape recorders are capable of recording beyond 30 kHz And there are those who believe that higher frequencies while perhaps not audible in themselves may have an effect on the quality of the audio taken as a whole Can you hear it You now have in your hands a tool that can let you hear the ultimate in recording for yourself By making comparison recordings at 48 kHz and 96 kHz you can judge what type of program material should be recorded at the higher rate and what effect that has But for an accurate comparison make sure that everything else in the record playback signal path has flat response see Extending the frequency range on the next page EC 2 96kHz A D D A upgrade appendix A Extending the frequency range of other studio equipment Even though an ADAT HD24 equipped with the EC 2 upgrade gives you the capability of recording audio beyond 40 kHz many other elements of your studio may need to be upgraded to truly take advantage of this capability Most studio equipment was designed to meet a 20 20 kHz spec not the 44 kHz range that the EC 2 can record Many devices treat anything above 20 kHz as nothing more than noise and may have low pass filters that cut it off To make truly wide range recordings make sure that every compon
16. ent of the signal chain is capable of ultra wide response e Look for measurement microphones usually small diaphragm condensers with response beyond 30 kHz Most microphones are limited to 20 kHz response e An ideal mic preamp for 96 kHz recording should be flat to at least 70 kHz Make sure the microphone preamp does not have built in low pass filters in an attempt to keep RF radio frequency noise out of the circuitry They still need some filtering but a well designed preamp filters out RF without filtering audio e Many mixing consoles also have internal filtering to cut down on crosstalk etc These are often critical to low noise operation so in some cases your best bet is to bypass_the console during tracking and save it for only the final mix Plug high grade microphone preamps directly into the balanced inputs of the HD24 EC 2 Or have your console custom modified to raise its low pass point by someone who understands the tradeoffs between noise stability and frequency response e For listening to a high sample rate recording electrostatic headphones e g Stax or monitors with electrostatic or ribbon tweeters are your best bet Most studio monitors don t respond well to frequencies above 25 kHz if they respond at all A soft dome tweeter trying to reproduce 30 40 kHz often goes into irregular modes that may oddly sound good to a listener but they re not really playing back what was recorded
17. l Basic Recording and Playback High sample rate operation If you want to use the HD24 EC 2 with a workstation or digital mixer at the 88 2 96kHz sampling rates the question to ask the manufacturer of the other unit is does this support the sample split implementation for 96kHz audio transmission with 4 channels of 96K 24 bit audio per ADAT Optical cable The details of this format are outlined by the Alesis Optical Interface Specification Addendum February 2001 If it doesn t instead of treating each lightpipe as a high speed 4 channel interface the workstation will use it asythe traditional standard speed ADAT Optical 8 channel interface If that s the case you ll get apparently duplicate signals on the device receiving signal from the HD24 in 96 kHz mode Track 1 will appear on channels 1 and 2 of the digital mixeror workstation etc In some cases yOu need to manually set the other device to send and receive a 96k signal on the ADAT lightpipe In other cases you may need to upgrade the software or hardware of the unit so it can interface digitally Contact the manufacturer of the workstation or mixer for more information EC 2 Manual Latency Every digital conversion requires a certain amount of time although the time delay involved is usually less than the time it takes sound to travel one foot through the air However if you have a digital workstation that allows compensation for input and
18. nversion between analog and digital signals takes place on two PCBs printed circuit boards that are mounted directly to the input A D and output D A connectors that poke through the back panel Ina stock HD24 without 96 kHz sampling capability each card connects directly to the main PCB on the bottom of the unit with a ribbon cable To add 96kHz analog recording and playback capability both the input and output boards are completely replaced and another board the daughterboard is added bridging across them The daughterboard then connects via ribbon cables to the main PCB The daughterboard requires a connection to the power supply so the existing 4 connectorpower cable must be replaced with a new 5 connector power cable Tools required Before you begin have these tools ready e 2 Philips head screwdriver e 14mm nut driver or socket wrench A 3 EC 2 96kHz A D D A upgrade appendix A Prepare to install 1 Disconnect the HD24 s AC power cable and make sure you are working on a clean flat hard surface Ground yourself by touching a grounded metal object anti static workstation with anti static mat and wrist strap is highly recommended Hazardous voltages are present within the chassis Do not remove the top panel without first unplugging the unit from AC power Remove the cover from the HD24 The cover is held to the body with 5 Philips head screws on the rear 2 on each
19. od of balancing the outputs foundon most audio gear and on the original HD24 boards As a result if you plug the output of the EC 2 into an unbalanced input the nominal output will be 2 dBu 6 dB less than if the EC 2 was seeing a true balanced load This is normal operation and has no effect_on the final quality of the sound it only reduces the readings on the console s tape return meters To avoid this 6 dB loss simply plug the outputs of the HD24 EC 2 into balanced inputs on the console A 7 EC 2 96kHz A D D A upgrade appendix A About the EC 2 s audio When to use 88 2 96 kHz performance An HD24 with the EC 2 upgrade has audio performance far superior to that of any analog recorder and a wider dynamic range than most input and output devices that may be connected to it Here s why The converter defines the sound The first and last steps in digital recording the conversion from analog to digital then back again define the audio quality of the digital recording process Once captured in the digital domain as a series of ones and zeroes the audio is protected for as long as the media lasts So the converter you use when recording a master is one of the most important choices you can make in the studio The EC 2 upgrade uses premium AKM 5393 analog to digital A D and AKM 4393 digital to analog D A converters among the best available today The input and output electronics are virtually identic
20. og frequencies in the incoming signal that are higher than half the sampling rate nasty sounding reflections appear in the signal known as aliases For example if a 47 kHz tone is sampled at 48 kHz you ll hear a 1 kHz tone right in the midband of the audio hardly what you d want to hear by getting extended frequency response So early analog to digital converters had a steep brick wall analog filter on the input To avoid EC 2 Manual aliasing the steeper the filter the better Some converters boasted 10 order 60 dB per octave filters For comparison most loudspeaker crossovers have 3 or 4 order filters 18 or 24 dB per octave The problem is similar on the output side the 44 1 or 48 kHz sampling frequency itself has to be filtered out of the analog output from the D A converter or it will send ultrasonic signals into amplifiers and tweeters making toast of them even if the speakers don t have response that high This called for a steep reconstruction or output filter between the D A and the analog output Such steep filters keep ultra high frequencies from turning into aliasing noise but they have their own negative side effects Like any equalizer filters have phase effects below the frequencies they directly affect So although the first digital recorders and CD players had flat frequency response they did not have flat phase response in the top octave from 10 to 20 kHz the sound wo
21. og Input PCB in the top set of rear there are no unconnected or exposed pins on the panel holes labeled INPUT on the rear panel headers withthe components facing down and put a 9 Lay the daughterboard gently on the PCBs at obthe ting es ane eL E PA old the PCB in place Screw them down all the the rear of the hard drive cages until the Analog kay Melo not ishten Input and Analog Output PCBs are installed y 8 10 Get the new Analog Output D A PCB from its packaging Remove the nuts and washers from the 1 4 connectors on the new Analog Output D A PCB HD24 with EC 2 installed Daughterboard PCB Analog In A D PCB Analog Out New DC D A PCB power cable EC 2 Manual A 5 EC 2 96kHz A D D A upgrade appendix A _ _ _ __ nn nn nn nn nn nn nn 6 Connect the PCBs Using the EC 2 13 Connect the daughterboard to the Input and Output PCBs Line up the connectors to the bottom D A and top A D PCBs make sure all the pins line up then gently push the daughterboard to the rear of the HD24 using the plastic ribbon cable headers as pressure points making a connection between all three PCBs The connectors will only line up in one orientation Verify that there are no pins unconnected or exposed 14 Put the remainder of the washers and nuts on the jacks of the input and output connectors and tighten them all down total 48 jacks 15
22. outputs when the system is set to 88 2kHz or96kHz sampling rates Without the EC 2 you must use the ADAT Optical digital inputs and outputs with an external 88 2 96kHz converter to record at higher sample rates About 12 channel operation at high sample rates When recording and playing back any Song that has been initialized at the 88 2 or 96 kHz sampling rates the HD24 is limited to recording a maximum of 12 channels e Analog input channels 13 24 will be ignored e Analog output channels 13 24 will duplicate output channels 1 12 e Digital inputs and outputs are grouped in fours instead of eights tracks 1 4 on the HD24 s ADAT OPTICAL 1 8 ports tracks 5 8 on the HD24 s ADAT OPTICAL 9 16 ports and tracks 9 12 on the HD24 s ADAT OPTICAL 17 24 ports For more on operation of the ADAT Optical port see page 66 of the HD24 manual When using an HD24 EC 2 at the standard 44 1kHz or 48kHz sampling rates you will still be able to record and play back all 24 tracks The only difference from the original boards will be improved audio performance due to the higher quality converters and analog circuitry of the EC 2 EC 2 Manual appendix A EC 2 96kHz A D D A upgrade Mea Cece Inputs and Outputs To record more than 12 tracks in the high sample rate mode simply synchronize two HD24 EC 2 units together by linking them with an ADAT Sync cable see page 24 of the HD24 manual Up to five HD24s may be synchronize
23. side and one on the top Slide the cover directly towards the rear don t lift it up there are metal tabs on the back panel and along the bottom that will get bent if you do Remove the existing converter PCBs and cables 3 HD24 interior with original A D A PCBs mar ih ribbon cab A D PCB D A PCB Locate the existing DC power cable This cable has several thick red orange yellow black and blue wires bundled together Pinch the tab lock holding the white connector to the back of Drive 1 and carefully disconnect it Do the same for the connector on Drive 2 the Main PCB the printed circuit board on the floor of the HD24 and finally the power supply itself This will be replaced with a new cable in 51 14 Disconnect the 26 pin flexible ribbon cables from the existing converter PCBssand the main PCB and remove them completely New 26 pin cables ar attached to the EC 2 daughterboard the old ones will not be used Remove the 24 nuts and washers on the 1 4 input connectors holding the PCB in place to keep it from falling Then remove the old A D PCB the highest one on the back panel Do the same for the 24 nuts and washers on the 1 4 output connectors Hold the PCB in place to prevent the D A PCB from dropping onto the main PCB Once the PCBs are removed put the nuts and washers back on the jacks and store these PCBs and cables in the packaging that the EC 2 came in Main PCB
24. uld start going through a small time delay as it approached the cutoff point of the antialiasing filter In the opinion of critical listeners these filters gave digital audio a harsh and unnatural high end Since this phase response was often the only significant measurable difference between the input and output signals designers focused on eliminating it although it was never proven to be audible Digital oversampling filters Throughout the 1980s and 1990s engineers made quantum improvements in the design of A D and D A converters Key among these was the development of digital oversampling filters To vastly oversimplify an oversampling filter sets its sampling frequency at a high multiple originally 8 times now usually 64 128 times of the final sampling frequency Then most of the filtering takes place digitally by throwing out the extra samples A digital recorder or player with oversampling filters on its converters still records and plays back at the standard 44 1 or 48 kHz rate but the analog antialiasing and reconstruction filters don t need to be brick wall a 12 dB per octave filter is just fine since the sampling is taking place much higher than the audible range Therefore today s CD players and digital recorders have almost perfectly flat phase response within the audible frequency range For more detail on this we recommend The Art of Digital Audio by John Watkinson EC 2 Manual app
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