APOGEE ROSETTA 200 MANUAL PDF

There is also a slot for an optional interface module, with cards available to couple directly with Pro Tools either new HD or older Mix systems and for a Firewire interface for native DAWs. This provides for the first time in an Apogee product high-quality sample-rate conversion, along with an automatic level-setting facility for the A-D converter called the Aptomizer. AES3 inputs and outputs are also on XLRs, dual sockets being provided to accommodate double-wire interfaces for high sample rates. The Rosetta is configured almost entirely through various front-panel button combinations, and this makes it very easy to change settings, as well as allowing a complete reset to default factory conditions if required. Apogee have always been praised for their stable, low-jitter clocks, and the latest Intelliclock design employs a dual-stage jitter-reduction technique that uses a FIFO buffer to isolate external, unstable clocks from the internal reference clock — a FIFO buffer first-in, first-out is a form of short-term memory. Of course, the FIFO buffer introduces a short storage delay, but this only amounts to a few samples, and is irrelevant compared to the normal conversion-filter delays.

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The Apto- mizer is a digitally controlled analog process maximizing the recording levels of analog to digital conversion in music and sound recording. The result of the procedure will be an optimal use of the available bit resolution and therefore produce the best possible sig- nal to noise ration and the lowest distortion.

The problem: The word length of any type of PCM conversion dictates the maximum theoretical dynamic range. For example a bit system allows for 96dB of dynamic range and a bit system for dB. Again, this is the theoretical range; in real life most bit converters do not go beyond dB, because of limitations in chip fabrication, analog noise and limited voltage on the power rails.

However, music and sound in general hardly ever need such dynamics. The catch is not the dynamic range, the catch is in distortion and the signal to noise ratio. Contrary to analog recording, digital distortion decreases with higher levels. So an optimal recording level is vital for a high quality recording. On the other side of the spectrum, the process of PCM recording is very unforgiving with regards to "overs". This results in massive and very unpleasant distortion when reproduced.

This can be a tedious process, especially when the end product is a production-master requiring the most optimal levels. The process adjusts the recording level based on the content of the material recorded.

The disadvantage is the usually slow response time of this process, resulting in the clipping of peak material and inconsistency in the perceived loudness of the overall recorded material.

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