User Manual

ULTRAMATCH PRO SRC2496

Audiophile 24-Bit/96 kHz A/D-D/A & Sample Rate Converter
2 ULTRAMATCH PRO SRC2496 User Manual

Table of Contents
Important Safety Instructions....................................... 3
Legal Disclaimer.............................................................. 3
Limited warranty............................................................. 3
1. Introduction................................................................ 4
1.1 The design concept............................................................. 4
1.2 Before you begin ................................................................ 4
2. Control Elements........................................................ 4
2.1 Front panel of the
ULTRAMATCH PRO SRC2496.................................................... 4
2.2 Rear panel of the ULTRAMATCH PRO........................... 6
3. Applications ............................................................... 7
3.1 A/D and D/A conversion with the
ULTRAMATCH PRO...................................................................... 7
3.2 Sample rate conversion..................................................... 9
3.3 Removing copy protect information............................ 9
3.4 Noise reduction with emphasis...................................... 9
3.5 Line booster, signal refresher........................................ 10
3.6 Correcting incorrect sample rates............................... 10
3.7 Vari-speed application..................................................... 10
3.8 Format converter............................................................... 10
3.9 Format interface................................................................. 10
3.10 Patchbay/splitter.............................................................. 10
4. Technical Background ............................................. 10
4.1 A short digression into digital
sample rate conversion........................................................... 10
4.2 AES/EBU and S/PDIF standards.................................... 11
5. Installation................................................................ 11
5.1 General connection notes.............................................. 11
5.2 Analog inputs and outputs............................................ 11
5.3 Digital inputs and outputs............................................. 12
5.4 Headphones output......................................................... 13
6. Specifications............................................................ 13
3 ULTRAMATCH PRO SRC2496 User Manual

Important Safety 9. Do not defeat the safety purpose of the polarized TO BIND MUSIC GROUP BY ANY EXPRESS OR IMPLIED
Instructions or grounding-type plug. A polarized plug has two blades UNDERTAKING OR REPRESENTATION. THIS MANUAL
with one wider than the other. A grounding-type plug IS COPYRIGHTED. NO PART OF THIS MANUAL MAY
has two blades and a third grounding prong. The wide BE REPRODUCED OR TRANSMITTED IN ANY FORM
blade or the third prong are provided for your safety. If the OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,
provided plug does not fit into your outlet, consult an INCLUDING PHOTOCOPYING AND RECORDING OF ANY
electrician for replacement of the obsolete outlet. KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
10. Protect the power cord from being walked on or WRITTEN PERMISSION OF MUSIC GROUP IP LTD.
pinched particularly at plugs, convenience receptacles,
Terminals marked with this symbol carry ALL RIGHTS RESERVED.
and the point where they exit from the apparatus.
electrical current of sufficient magnitude © 2013 MUSIC Group IP Ltd.
to constitute risk of electric shock. 11. Use only attachments/accessories specified by Trident Chambers, Wickhams Cay, P.O. Box 146,
Use only high-quality professional speaker cables with the manufacturer. Road Town, Tortola, British Virgin Islands
¼" TS or twist-locking plugs pre-installed. All other 12. Use only with the
installation or modification should be performed only cart, stand, tripod, bracket,
by qualified personnel. LIMITED WARRANTY
or table specified by the
manufacturer, or sold with For the applicable warranty terms and conditions
This symbol, wherever it appears,
the apparatus. When a cart and additional information regarding MUSIC Group’s
alerts you to the presence of uninsulated
is used, use caution when Limited Warranty, please see complete details online at
dangerous voltage inside the
moving the cart/apparatus www.music-group.com/warranty.
enclosure - voltage that may be sufficient to constitute a
risk of shock. combination to avoid
injury from tip-over.
This symbol, wherever it appears,
13. Unplug this apparatus during lightning storms or
alerts you to important operating and
when unused for long periods of time.
maintenance instructions in the
accompanying literature. Please read the manual. 14. Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
Caution damaged in any way, such as power supply cord or plug
To reduce the risk of electric shock, do not is damaged, liquid has been spilled or objects have fallen
remove the top cover (or the rear section). into the apparatus, the apparatus has been exposed
No user serviceable parts inside. Refer servicing to to rain or moisture, does not operate normally, or has
qualified personnel. been dropped.
Caution 15. The apparatus shall be connected to a MAINS socket
To reduce the risk of fire or electric shock, outlet with a protective earthing connection.
do not expose this appliance to rain and 16. Where the MAINS plug or an appliance coupler is
moisture. The apparatus shall not be exposed to dripping used as the disconnect device, the disconnect device shall
or splashing liquids and no objects filled with liquids, remain readily operable.
such as vases, shall be placed on the apparatus.
Caution
These service instructions are for use
by qualified service personnel only.
To reduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by qualified
service personnel.
1. Read these instructions.
LEGAL DISCLAIMER
2. Keep these instructions.
TECHNICAL SPECIFICATIONS AND APPEARANCES
3. Heed all warnings.
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
4. Follow all instructions. ACCURACY IS NOT GUARANTEED. BEHRINGER,
5. Do not use this apparatus near water. KLARK TEKNIK, MIDAS, BUGERA, AND TURBOSOUND
6. Clean only with dry cloth. ARE PART OF THE MUSIC GROUP (MUSIC-GROUP.COM).
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
7. Do not block any ventilation openings. Install in
RESPECTIVE OWNERS. MUSIC GROUP ACCEPTS NO
accordance with the manufacturer’s instructions.
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
8. Do not install near any heat sources such as BY ANY PERSON WHO RELIES EITHER WHOLLY OR
radiators, heat registers, stoves, or other apparatus IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
(including amplifiers) that produce heat. OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERS AND RESELLERS ARE NOT AGENTS OF
MUSIC GROUP AND HAVE ABSOLUTELY NO AUTHORITY
4 ULTRAMATCH PRO SRC2496 User Manual

1. Introduction 1.2 Before you begin

The BEHRINGER ULTRAMATCH PRO is a fully digital signal processor integrating Your ULTRAMATCH PRO was carefully packed at the factory and the packaging is
24-bit A/D and D/A converters. With its wide range of features, it provides a designed to protect the unit from rough handling. Nevertheless, we recommend
powerful state-of-the-art interface between the physical reality of music and its that you carefully examine the packaging and its contents for any signs of
recording in digital form. To retain the true authenticity of your music, we not physical damage which may have occurred during transit.
only developed a strong link between analog recording technology and the huge
◊ If the unit is damaged, please do NOT return it to BEHRINGER, but notify
variety of signal processing possibilities available in the digital world, but also
your dealer and the shipping company immediately, otherwise claims
designed the ULTRAMATCH PRO SRC2496 to function as a universal inter-face
for damage or replacement may not be granted. Shipping claims must
between the various digital formats and sampling rates.
be made by the consignee.
Thus, incompatibilities between different equipment with regard to modified
The BEHRINGER ULTRAMATCH PRO requires one rack unit for installation in a 19"
connectors, transmitted signals and applied standards are definitely a thing of
rack. Please allow for an additional 4" of rack depth for the rear panel connectors.
the past.
For rack mounting, please use M6 metal nuts and bolts.
◊ This manual first describes the terminology used, so that you can fully
understand the SRC2496 and its functions. Please read the manual Be sure that there is enough air space around the unit for cooling. For example,
carefully and keep it for future reference. to avoid overheating, do not place the ULTRAMATCH PRO on power amps.
◊ Before you connect your ULTRAMATCH PRO to the mains, please make
1.1 The design concept sure that your local voltage matches the supply voltage required by
The philosophy behind BEHRINGER products guarantees no-compromise the unit!
circuit design and the best choice of components. We only use low-tolerance
The fuse holder at the AC power connector has 3 triangular markings. Two of
resistors and capacitors, high-grade switches and buttons as well as other
these three triangles will be aligned with one another. The ULTRAMATCH PRO
select components to make sure that you can fully benefit from state-of-the-
is set to the voltage shown next to these markings and can be switched over by
art 24-bit/96 kHz technology with regard to low noise and high dynamics.
twisting the fuse holder by 180°. IMPORTANT: This does not apply to export
With the ULTRAMATCH PRO you have purchased some cutting-edge technology.
models designed exclusively for 120 V operation!
Today, a lot of hi-fi equipment is already equipped with a digital interface, so the
SCR2496 can not only be used as a high-end A/D and D/A converter in your studio, ◊ If you set the unit to a different mains voltage, be sure to use a fuse of
but also raises your home hi-fi system to a new level in terms of dynamics, the correct type and rating! In chapter 6 “Specifications” you will find
low distortion and definition. It is thus possible to replace one of the weak points the matching fuse type for your local mains voltage.
in the signal chain with an absolutely powerful unit.
The mains connection is made by using the enclosed power cord and a standard
The SRC2496 provides you with the functionality of a first-class A/D and D/A IEC receptacle. It meets all of the international safety certification requirements.
converter, an outstanding sampling rate converter and a digital patchbay.
◊ Please make sure that all units have a proper ground connection. For your
Additionally, it can be deployed as a format converter, to set or remove copy bits,
own safety, never remove or disable the ground conductor of the unit or of
and as a signal refresher—but is still easy to operate.
the AC power cord.
The front panel of your ULTRAMATCH RO features a functional and easily
◊ Please ensure that only qualified persons install and operate the
understandable layout. On the left-hand half of the panel you will find the
SRC2496. During installation and operation the user must have
monitor (left) and input sections (right); the right-hand half includes the mode
sufficient electrical contact to earth. Electrostatic discharges might
(left) and output sections (right). Just imagine the signal passing through the
affect the operation of the unit.
unit from left to right and the design logic becomes clear.
The monitor section enables you to monitor analog input/output signals.
The level meter reads the analog input level and allows you to adjust it optimally. 2. Control Elements
The status LEDs in the input section make it easy to check which type of digital
signal (AES/EBU or S/PDIF) is being received and also display its sampling rate. 2.1 Front panel of the
Since the ULTRAMATCH PRO is automatically synchronized to any input signals ULTRAMATCH PRO SRC2496
within a range from 31 Hz to 100 kHz, there is no need for dedicated sampling
rate selector switches on the input side. (1) (2) (3)
In the mode section you can see which of the SRC2496’s two basic functions
(A/D and D/A converter or sampling rate converter) is currently active. Select the
function of your choice at the touch of a button. The output section gives Fig. 2.1: Front panel control elements
you the buttons and displays to adjust a variety of parameters for the digital
output signal. (1) Monitor and input sections. The monitor section enables you to adjust
the signal level applied to the analog input and features a controllable
The ULTRAMATCH PRO stores the last setting made before power-down, so you
headphone connector. A clearly structured LED array provides you with
can continue from where you stopped when you turn the unit back on again.
detailed information on the various parameters of the digital input signal.
In a later section of this manual we will give you a detailed description of how you can
(2) Mode section. Here, you can determine whether your ULTRAMATCH PRO is
use your ULTRAMATCH PRO in various applications.
working as a sampling rate converter or A/D-D/A converter.
(3) Output section. The buttons in the output section allow you to tailor the
output signal to meet your requirements.
Similarly to the input section, the display provides you with all the
information on the output signal.
 5 ULTRAMATCH PRO SRC2496 User Manual

2.1.1 Monitor and input sections (12) The EMPH LED shows you whether or not the input signal includes an
emphasis marker. “Emphasis” is a high-frequency boost function that
(4) (5) (7) (9) (11) (13) (15) (19)during
(16) is applied (21)the(23) (25)recording but is undone during playback.
digital
When the LED lights up, the signal was emphasis-processed during
recording. You should always make sure that the EMPH LEDs in the input and
output sections read the same status.
The COPY LED (= copyright) lights up when the input signal was supplied
from a copy-protected data carrier.
(6) (8) (10) (12) (14) (17) (18) LED(20)(= original)
The ORIG (22) (24) (26)you (27)
informs (28)audio signal received is an
that the
Fig. 2.2: Input section control elements original signal, i.e. that it can be copied (see chapter 2.1.3, section (28) ).
(13) The AES/EBU LED lights up when an AES/EBU signal has been applied at the
(4) Use the GAIN control to adapt the signal level perfectly to the circuitry of
active input connector.
your ULTRAMATCH PRO. The level should be as high as possible, but the 0 dB
LED should only light up occasionally or never at all to avoid distortion. The same holds true for the S/PDIF LED, i.e. when a consumer-format signal
has been applied.
(5) The PHONES control governs the headphone volume. You can monitor
either the analog output or input by setting the SOURCE switch accordingly. If the unit is set to A/D and D/A converter mode, the S/PDIF LED lights up
The analog output always provides the signal applied to the selected digital even when no digital signal is present. This is due to the circuitry used and
input, so this signal can be monitored with the headphones, too. does not indicate a malfunction of the unit. Further information on the
formats AES/EBU and S/PDIF can be found in chapter 4.2.
◊ When the ULTRAMATCH PRO operates as an A/D-D/A converter,
the digital input signal is applied to the analog output only in DIG IN (14) Use the SOURCE switch to select the active input. Only one digital input can
mode (see (20), (21) ). be activated at a time. However, in A/D-D/A converter mode, you can use
one digital input and the analog inputs simultaneously (parallel A/D and D/A
(6) This is the stereo 1/4" TRS connector for your headphones.
conversion). For further information please refer to chapter 3.1.3.
(7) The ANALOG IN and/or ANALOG OUT LEDs indicate which signal
(15) The LEDs XLR, RCA and OPTICAL indicate the input activated by the user.
(input or output) is being displayed by the level meter.
(8) The SOURCE switch routes the analog input or output signal to the 2.1.2 Mode section
level meter.
(4) (5) (7)
(9) LEVEL METER. The signal shown here can always be monitored with
(9) (11) (13) (15) (16) (19) (21) (23) (25)
the headphones.

(9) (11) (13) (15) (16) (19) (21) (23) (25)

(6) (8) (10) (12) (14) (17) (18) (20) (22) (24) (26) (27) (28)
Fig. 2.4: Mode section

(10) (12) (14) (17) (18) (20) (22) (24) (26) (27) (28) (16) The two LEDs SAMPLE RATE CONV and A/D & D/A CONV inform you
about the operating mode of your SRC2496, i.e. sampling rate converter or
Fig. 2.3: Input section control elements
A/D-D/A converter.
(10) This LED array displays the sampling rate of the digital input signal. One LED (17) Use the MODE switch to switch over between these two operating modes.
lights up constantly when the sampling rate is kept accurately or does not
deviate from the nominal value by more than approx. 2 kHz. Otherwise, 2.1.3 Output section
the LED for the next value starts flashing.
(4) (5) (7) (9)
(11) The LOCK LED lights up when a valid digital signal—to which the
(11) (13) (15) (16) (19) (21) (23) (25)
ULTRAMATCH PRO can be synchronized—is applied to the active input.
When digital input signals are being processed, this LED should be on all the
time, showing the presence of a stable input signal.
The ERROR LED warns you of erroneous (or the absence of any) input signals.
It displays various error modes, such as “Unlock,” “Parity Error,” “Bi-Phase
(6) Error.”
Error” and “Confidence (8)The signal is then checked
(10) (12) whether(17)
as to(14) or not (18) (20) (22) (24) (26) (27) (28)
it is an audio signal. Any detected error makes the SRC2496 mute all of its Fig. 2.5: Output section
outputs to protect down-stream audio equipment. As long as the ERROR LED
is lit, the ULTRAMATCH PRO cannot process any input signals.
6 ULTRAMATCH PRO SRC2496 User Manual

(18) The SAMPLE RATE switch selects the sampling rate to which the input Reducing the digital word length (e.g. from 24 bits to 20 bits) also means a
signal is to be converted or made available at the outputs. For this purpose, reduction of the resolution. The resulting misinterpretations, which are more
the SRC2496 must be set to internal mode, i.e. it has to function as a master likely to result by this word length reduction can be purposefully suppressed
unit (see sections (20) and (21) ). with the dither function.
(19) The LEDs 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz and 96 kHz read the (27) The EMPH LED lights up when the emphasis bit has been set in the output
sampling rate selected with the SAMPLE RATE switch. If the sampling rate signal. Use the EMPHASIS switch to enable/ disable this function. To avoid
is preset by an external wordclock or generated via the digital input signal, sound deterioration, the LED in the output section should read the same
the LEDs light up constantly, thus reading the external sampling rate (with a status as the EMPH LED in the input section. In the rare case of a signal
deviation of ±2 kHz). The next value (= deviation of >2 kHz) is displayed by containing an emphasis bit without any treble boost applied, you can correct
one of the LEDs flashing. this here and switch off the emphasis bit (detailed information can be found
in chapter 3.4).
(20) The CLOCK switch allows you to select the source determining the sampling
rate at the digital output of your ULTRAMATCH PRO. (28) The COPY switch (= copyright) allows you to set the status of the copy bits in
the transmitted data stream. The LEDs COPY and ORIG inform you about the
(21) The PLL LOCK LED shows you that your SRC2496 is processing properly the
current status of the copy protection:
wordclock signals applied.
The INTERNAL LED lights up when the SRC2496 generates the sampling rate digital recording only once
by itself (master), which is the preferred mode for the ULTRAMATCH PRO COPY-LED on
acting as an A/D converter. ORIG-LED on
digital recording not possible
The EXTERNAL LED lights up when the sampling rate is governed by an
external wordclock signal. The external mode also allows you to generate COPY-LED on
sampling rates at the output that could not be generated by the SRC2496 ORIG-LED off
as a master unit. digital recording unlimited
COPY-LED off
When the DIG IN LED lights up, your SRC2496 uses the wordclock signal
included in the digital audio signal fed into the unit. This setting is useful ORIG-LED off
if you do not want to convert the sampling rate, but only the format of the COPY-LED off
digital output signal (S/PDIF to AES/EBU or vice versa). ORIG-LED on
Tab. 2.1: Overview of copy bit settings
(22) The FORMAT switch determines the format of the digital data stream on
the output side, as defined in the Channel Status data. Available formats are
If both COPY and ORIG light up, you can make one copy only. Subsequently,
AES/EBU and S/PDIF.
the data will be copy protected. If only COPY lights up, digital copies cannot
(23) The LEDs AES/EBU and S/PDIF show the adjusted output format, be made. If both LEDs are out, you can make digital recordings without any
which is present at all three digital outputs. Using an appropriate cable limitations. Press the switch to change the status of the determining bits and
(see chapter 5.3.5) you could also route an S/PDIF signal from the XLR allow for unrestricted copying.
output to a second unit, in case the RCA output is already in use.
◊ This option applies exclusively to S/PDIF signals, because the
(24) Use the WORDLENGTH switch to select the digital word length of your Serial Copy Management System (SCMS) exists in this format only.
choice (16, 20 or 24 bits). Signals based on the professional AES/EBU format can be copied freely.
◊ If you want to set the digital word length to a lower value ◊ Even though removing the copyright bit is possible, we would like to
(e.g. to record 24-bit signals with 16 bits on CD, MD or DAT), alert you about the fact that copyright and duplication rights must
we recommend that you switch on the dither function, so as to limit be safeguarded. We did not produce this equipment to facilitate
the distortion resulting from the omission of the additional bits to an illegal copying!
inaudible minimum.
(25) The LEDs 24 BIT, 20 BIT and 16 BIT read the word length selected.
2.2 Rear panel of the ULTRAMATCH PRO
(26) The DITHER switch enables/disables the dither function. The corresponding
LED lights up when this function is active. Here’s a concise explanation
of the dither function: Whenever analog signals are converted to
digital (numerical values!), the finite number of digits available for the
mathematical description of the analog signals (electrical voltages that
are constant in the time and value domains) inevitably result in rounding (29) (30) (31) (32) (33) (34) (35) (36)
errors and misinterpretations of the analog signals (quantization errors).
Fig. 2.6: Mains connector/fuse holder
In particular, signals with a very small amplitude are affected by an audible
system error known as granular noise. Such errors can be suppressed by
(29) MAINS CONNECTOR/FUSE HOLDER. Use the power cord supplied with the
adding white noise. This type of noise has an exactly defined amplitude
SRC2496 to connect the unit to the mains. Please note the instructions given
(minimum amplitude that can be detected only by measuring instruments
in chapter 1.2. Blown fuses should only be replaced by fuses of the same type
and by no means affects the audio signal) and broadband frequency
and rating.
distribution, and is called dither signal. Combine this with the high
internal resolution of 24 bits, and you can generate an audio signal of
excellent quality.
 7 ULTRAMATCH PRO SRC2496 User Manual

(30) (30) (31) (31) (32) (32) (33) (33)

(34) (34) (35) (35) (36) (36) (37) (37) (38) (38)
Fig. 2.7: Wordclock connector Fig. 2.10: Analog outputs and inputs

(30) The BNC connector WORDCLOCK is a high-impedance connector with no (37) ANALOG OUTPUTS. These balanced analog XLR outputs (stereo) provide the
internal terminating impedance (75 Ohms). Use it to connect equipment analog signal generated by conversion from a digital format.
for external synchronization of your ULTRAMATCH PRO. Please note the
(38) ANALOG INPUTS. Use these balanced analog XLR inputs (stereo) to feed in
instructions given in chapter 3.2.3.
analog line level signals. Please note the instructions on level adjustment
given in chapter 2.1.1 (section (4) ).

3. Applications
Your ULTRAMATCH PRO will soon prove to be a practical tool of valuable help
(30) (31) (32) (33) (34) (35) (36) (37) in almost any
(38)situation. Its straightforward user interface is fun to work with.
Don’t be misled by the plain design: the SRC2496 is a really flexible tool in a
Fig. 2.8: Digital outputs
variety of applications.
(31) The digital XLR output is the standard output connector for AES/EBU signals You don’t need to own a professional recording studio to benefit from the wide
(AES/EBU LED lights up). When S/PDIF is selected, the XLR output also range of features and functions implemented in the SRC2496. Problems with
provides this signal. Further information on these connectors can be found the interfacing of optical and coaxial connectors, removing copy protect bits,
in chapter 5.3. converting sampling rates from 48 to 44.1 or 32 kHz—all of these tasks are quite
common daily routines even in a home recording environment.
(32) This is the OPTICAL (Toslink) output connector of the ULTRAMATCH PRO.
When the unit is shipped, the optical Toslink input/output connectors Additionally, the ULTRAMATCH PRO is the logical choice as a high-end A/D and
have dummy plugs attached to protect them from dirt and to prevent the D/A converter or enhanced source selector for digital inputs—whenever you
emission of light. These dummy plugs can be removed easily if you wish to need an inexpensive and reliable alternative to equipment with considerably
use the connectors. The digital standard format for this output is S/PDIF. higher prices.
However, you can also transmit AES/EBU signals via this output.
(33) RCA output. The digital standard format for this output is also S/PDIF.
3.1 A/D and D/A conversion with the
If AES/EBU has been selected in the output section, this output also provides ULTRAMATCH PRO
AES/EBU signals. Unlike the XLR connector, however, this output allows for
3.1.1 Converting analog to digital
unbalanced signal transmission.
The ULTRAMATCH PRO is equipped with high-grade A/D and D/A converters.
With the SRC2496 you own an excellent tool for preparing your analog audio data
for digital processing or for converting analog signals directly and storing them
on a digital medium. The analog input is set for studio levels (+4 dBu), but can be
adapted to low-level signals with the GAIN control. Please use the level meter to
adapt the level of the input signal, as described in chapter 2.1.1. The illustrations
2) (33) (34) (35) (36) (37) (38) 3.1 and 3.2 below show you how to connect the unit.
Fig. 2.9: Digital inputs

(34) — (36)  DIGITAL INPUTS.

(34) The RCA input is the digital standard input for S/PDIF signals.
(35) The OPTICAL input (Toslink) is also used for S/PDIF signals.
(36) XLR input. The digital XLR input is the standard input connector for AES/EBU
signals. It can also be used to feed in S/PDIF signals, like the RCA and
OPTICAL inputs which can be used to process AES/EBU signals in addition to
the S/PDIF format.
8 ULTRAMATCH PRO SRC2496 User Manual

Digital Audio
Workstation

Tape
Line outputs

DAT-Recorder
Digital input/Sound card Analog inputs ULTRAMATCH PRO

Digital outputs
Digital output

Digital input
ULTRAMATCH PRO Analog inputs/L+R

Subgroup outputs
Microphone
BEHRINGER
XM1800S

Channel input Digital Audio Workstation

Fig. 3.2: Example: A/D conversion of tape recordings

BEHRINGER
EURORACK UB2222FX-PRO
◊ Since subgroup outputs on mixing consoles, as well as tape and line
outputs on hi-fi amplifiers, usually provide unbalanced signals only,
Fig. 3.1: Example: A/D conversion of a microphone signal
please note the corresponding instructions on how to connect the
SRC2496 (chapter 5 “Installation”).
Fig. 3.1 shows a typical setup for recording a signal source on a digital recording
device (here: hard-disk recording system). If your HD recording system is
3.1.2 Converting digital to analog
equipped with a digital interface, you can use the ULTRAMATCH PRO to
“circumvent” the A/D converter on the sound card and thus avoid interference Using the ULTRAMATCH PRO as a digital-to-analog converter is interesting for
signals generated by the computer. By taking the signals from the subgroup all applications in which signals must be made audible again after digital
outputs on your mixing console, you can record several signal sources at the same processing, e.g. to “circumvent” D/A converters of inferior quality in equipment
time by assigning (routing) them to the corresponding subgroups. with a digital output (sound card).
In practice, the ingenious design of the SRC2496 proves to be versatile to the This can be useful if your sound card is not shielded from electromagnetic
point that you can also solve problems which are not directly related to a normal interference generated by power supplies or graphics cards for example. You can
studio environment. For example, digital hi-fi recording equipment such as feed the audio signal from the digital interface of the sound card to one of the
MD recorders (Mini Disc) have been met with widespread popularity in home digital inputs on the SRC2496 and then take it from the analog outputs. The type
systems. Unfortunately, however, such equipment cannot record with 32 kHz of cable required for connecting the sound card to the ULTRAMATCH PRO depends
using their digital input. on the output connector used.
Thus, it is impossible to record digital broadcasting programs directly to digital; ◊ Detailed information on wiring setups can be found in
D/A and A/D conversion steps are inevitable. chapter 5 “Installation”.
Not so with the ULTRAMATCH PRO, as it can convert the broadcast signal from
3.1.3 Parallel A/D and D/A conversion
32 kHz to any other common sampling rate and also remove any form of copy
protect information. The SRC2496 offers you the possibility to simultaneously convert analog signals into
digital, and vice versa. In A/D and D/A converter mode, you can only convert
A second wiring setup shows how to copy tape recordings for restoring and
from digital to analog if the CLOCK switch in the output section has been set to
subsequent archiving purposes on digital media.
DIG IN. In this case, the sampling rate will be determined by the digital signal
applied. Otherwise, the ULTRAMATCH PRO can only be operated as an A/D
converter, and the D/A converter function will be muted. In SRC mode the D/A
converter is always active.
9 ULTRAMATCH PRO SRC2496 User Manual

3.2 Sample rate conversion The need for synchronization in a digital studio is done justice connecting the
equipment to one central sync source. For example, the console could be the
No matter what type of digital audio signal you feed into the ULTRAMATCH PRO,
master-supplying the remaining equipment with a reference signal (wordclock).
it will convert it to a common standard format. Numerous conversion examples
However, this will only work if your other equipment has a sync input, i.e. can be
can be found in daily studio practice:
used as a slave. In a studio with a digital tape machine, digital effects and
• Conversion of 48 kHz DAT recordings to the CD standard of 44.1 kHz hard-disk recording system it is impossible to connect commercially available CD
players or DAT recorders to the mixing section of the console simply because they
• Conversion of older digital recordings from 44.056 kHz to 32, 44.1, 48, 88.2
cannot be synchronized.
or 96 kHz
By inserting the BEHRINGER ULTRAMATCH PRO SRC2496 between the equipment
• Conversion of “foreign” material with 32 kHz to 44.1, 48, 88.2 or 96 kHz
to be synchronized and the mixing console input, the SRC2496 can deliver
• Conversion of audio data with a word length of 24 bits to 20 or 16 bits for the audio signal with the studio clock rate entered via the external sync input
recording on a digital medium (WORDCLOCK, (20) ). In this case, the ULTRAMATCH PRO works as intermediate
gear of sorts, whose toothed transmission always ensures that there is an
• Conversion of S/PDIF format to AES/EBU for easy mani­pulation of various
appropriate gap in the gearwheel. It synchronizes the signal coming from the
parameters and improved (balanced) signal transmission
devices to be synchronized, while converting to the desired sampling rate in
• Setting or removing copy protect bits for further processing of recordings in compliance with the wordclock signal.
a studio environment
In a studio with a central clock generator, it is therefore possible to use the
ULTRAMATCH PRO to connect any unit to any other, regardless of any other
3.2.1 Typical studio application with DAT
options available.
Only recently has it become possible to use less expensive DAT recorders
◊ Even if the central clock does not correspond exactly to one of the
for direct recording from analog sources with a sampling rate of 44.1
sampling rates, the ULTRAMATCH PRO will assign a corresponding
kHz. Most consumer-level DAT recorders, however, record at 48 kHz.
marker to the output signal! This marker depends on the automatically
Usually, such recordings have to be transferred via an analog connection from
detected and displayed sampling rate, which is important because DAT
DAT to a professional recorder. This process results in an unnecessary deterioration
recorders usually “refuse” to enter record mode if an incorrect sampling
of the original quality of the material due to the additional D/A and A/D
rate has been indicated.
converters involved. With the ULTRAMATCH PRO you can eliminate this problem
by converting the sampling rate purely in the digital domain, which allows for a
3.2.4 Bridging unformatted passages
considerably higher quality than you could achieve with analog converters.
DAT recorders, in particular, produce tiny format gaps between individual recorded
Further problems, such as incorrect formats, significantly deviating or unstable
passages on the tape when intermittent recordings are made. Also, when you transfer
sampling rates (as long as they do not deviate by more than ±12.5% from the
older recordings it can happen that short passages with a different sampling
current sampling rate), will also be corrected by the ULTRAMATCH PRO in real time,
rate than that of the current recording remain stored on tape. In such cases,
thus ensuring the successful transfer of your audio data.
the ULTRAMATCH PRO converts this host of single pieces of information into a
continuous data stream with a fixed sampling rate. Even if the DAT recorder
3.2.2 Hard-disk recording
or any other digital source is stopped or switched off, the ULTRAMATCH PRO
Hard-disk recording applications also require a uniform sampling rate, will continue to generate a continuous signal (depending on the digital signal,
if possible the one used by the subsequent playback medium (CD). As it can if synchronized to it).
convert audio material from 32, 48, 88.2 or 96 kHz to the standard 44.1 kHz,
the ULTRAMATCH PRO makes sure that all sources can be used to feed audio 3.3 Removing copy protect information
material by way of a digital connection.
The original copy protect mechanism used in DAT recorders was simple but
Of course, the ULTRAMATCH PRO can be inserted at any point in the audio processing effective: It was impossible to make digital recordings from a CD. Later,
path, i.e. also between the PC and the DAT recorder. Therefore, with uncritical a step-by-step mechanism was introduced with SCMS, which allowed at least
audio material you can process the material at 32 kHz in the recording system for one digital copy from CD. The routine implemented in SCMS depends on the
(or higher, depending on which sampling rates can be processed by the HD generation (xth copy) and the origin (category) of the digital audio material.
recording system), and subsequently convert the completely edited material In professional studio engineering a copy protect mechanism does not make any
while transferring it to a DAT recorder at 44.1 kHz (or even at 48 kHz). sense, which is why there is none defined in the AES/EBU standard.
Since many studios use inexpensive consumer devices for cost reasons,
3.2.3 Master/slave problem solver
copy protect and/or format incompatibility problems (professional/consumer)
When a digital mixing console is used, it is at this point—if not earlier— are encountered frequently. The SRC2496 can ignore all types of copy protect
that master/slave problems will be encountered. The explanation is simple: information and generate a new, completely free marker that allows for multiple
When using CD players, DAT recorder and HD recording systems in their “normal” copying. Thus, you can use your ULTRAMATCH PRO to copy material from one
applications, the responsibilities are clearly defined. The playback device is the consumer DAT to another. Further information on this subject can be found in
master, the recording device is the slave, i.e. the CD player provides a clock rate of chapter 2.1.3, section (28).
44.1 kHz to which the DAT recorder is synchronized.
When using a mixing console, the CD player is the master, the console is the slave.
3.4 Noise reduction with emphasis
However, this model collapses all of a sudden as soon as a DAT recorder is hooked A very special feature is the option to influence the set emphasis bit.
up, which does not record but plays back too. The console can synchronize to one “Emphasis” here means a noise reduction process with a treble boost step
source only, the audio data from the other source would be processed incorrectly involved prior to recording. This treble boost is undone during playback. A specific
because the two devices are not in sync. bit (emphasis bit) in the digital data stream contains the information whether
or not the signal has been processed with this technique. It is however NOT a
modification of the audio signal, but only of the emphasis marker contained in
the digital data stream.
10 ULTRAMATCH PRO SRC2496 User Manual

So much for the theory. In practice, a lit EMPHASIS LED does not necessarily show 3.9 Format interface
that the emphasis function has really been applied. In several situations the
Many CD players have no coaxial but only an optical output. Some DAT recorders,
emphasis bit was set during the mastering and editing process due to defective
on the other hand, only have a coaxial input. Digital interface cards for personal
hardware/software—without any treble boost applied. This error usually remains
computers are usually equipped either with optical or coaxial connectors.
undetected when the material is transferred, because modern DAT recorders no
So, when you try to transfer data from one unit to another you are likely to
longer have an emphasis indicator for reasons of rationalization. When the master
encounter incompatibility problems, in that one unit has an optical connector,
tape—usually only monitored briefly on the DAT recorder due to lack of time—
while the other has a coaxial RCA connector. Connection to professional
arrives at the customer’s end, it gives him a big surprise: The treble range has been
equipment is difficult because of the XLR connectors used there, or even
cut in the DAT recorder by more than 10 dB, which cannot be undone and results
impossible if it features optical interfaces.
in a dull sound that lacks brilliance in the treble range. It is for this reason that we
equipped the ULTRAMATCH PRO both with an emphasis status LED and with an Such incompatibilities between inputs and outputs are definitely a thing of
additional switch for manual correction of the emphasis bit setting. the past with the ULTRAMATCH PRO. For example, if the CD player only has an
optical digital output, while the DAT recorder is equipped with a coaxial RCA
3.5 Line booster, signal refresher input, your SRC2496 will easily eliminate the resulting connection problems with
its three inputs and outputs in all formats. Your ULTRAMATCH PRO allows for
Longer cable lengths or the use of a digital patchbay lead to deterioration of
interconnecting virtually all equipment that is available on the market today!
signal quality, which may result in a higher noise floor or even connection
failures. Using special input circuitry your ULTRAMATCH PRO removes jitter,
interference and level loss, thus restoring the signal to perfect quality. As a
3.10 Patchbay/splitter
consequence, you can also use the SRC2496 to refresh the signal over longer The digital outputs of your ULTRAMATCH PRO can all be operated at the same
cable lengths or to restore attenuated and distorted signals. time. In this case, the input selector functions as a kind of miniature patchbay
determining which signal is sent to the output. It is not necessary to switch-over
3.6 Correcting incorrect sample rates the output, because you can freely select on the down-stream devices which
signal to accept (example: recording active/inactive). Therefore, the outputs
The sample rate of any equipment is subject to fluctuation due to temperature
of the ULTRAMATCH PRO carry the identical signal all the time and are
and ageing effects. Normally, an automatic locking circuit ensures reliable
operative simultaneously.
operation even with varying or slightly fluctuating clock signals. If such
fluctuations exceed a certain level, however, the receiving equipment cannot The parallel operation of all three outputs enables you to use your SRC2496 as a
be synchronized any longer to the clock rate supplied and therefore fails to splitter, which is useful for copying material to several DAT recorders. With some
function properly. special types of equipment in particular that does not allow for looping through
the digital data from the input to the output, this useful function makes it
Your ULTRAMATCH PRO is totally free from such restrictions, as it works over
possible to split up the signal.
the entire bandwidth from 31 to 100 kHz, rather than only within a small
range around the actual sampling rate. The signal output by the SRC2496 is
always synchronized correctly to the value selected. Thus, you can use your
ULTRAMATCH PRO to “rescue” and work with sampling rates that have been
4. Technical Background
modified deliberately (vari-pitch function on sampling keyboards or CD players)
or fail to fall within the adjusted range due to rate fluctuations.
4.1 A short digression into digital sample
rate conversion
3.7 Vari-speed application In the past, the conversion of various sample rates into a fixed value necessitated
a whole rack full of components and even then had some disadvantages
There are several reasons for modifying the speed of a digital playback,
that could be measured as increased noise, distortion or undesirable mirror
e.g. to change the pitch or synchronize the playback to other equipment.
frequencies (high-frequency chirping). On the other hand, the sampling rate
In such cases, the ULTRAMATCH PRO can track the sampling rate as it changes
converter chip installed in the ULTRAMATCH PRO converts in real time and with
and then output the signal with a fixed rate of 44.1 kHz (or any other selectable
24-bit precision. Its processing is absolutely inaudible and can only be identified
or wordclock-defined value). Thus, it reliably removes sampling rate fluctuations,
with state-of-the-art, extremely expensive measuring instruments.
which could otherwise make it impossible to process the digital audio material
any further in the digital domain. The functional principle is difficult to comprehend, even for professionals.
That is why we are presenting you with an equivalent model, which describes
◊ At its digital input, the ULTRAMATCH PRO accepts sampling rate
the processes taking place in the processor in an easily understandable manner.
fluctuations of up to ±12% from the adjusted sampling rate,
The processor carries out an oversampling at the input signal. Between each
without producing any distortion at its output. When things get worse,
sample, more samples are inserted, thereby significantly increasing the number
the connection will not be interrupted, but temporary drops in the
of sampling points by filling in the gaps. Subsequently, the signal passes through
signal quality (distortion) may occur.
a variable low-pass filter, which ensures that the correct limit, below which no
problems with mirror frequencies (aliasing) occur, is observed. Then, the number
3.8 Format converter of sampling points is distributed in such a way as to obtain the desired sampling
Digital data transfer is frequently affected by problems with the format required. rate at the output. This enormous oversampling allows the SRC processor to
While some devices specifically need S/PDIF signals on the input side, others can achieve excellent precision in the complete conversion range. Moreover, it also
only output AES/EBU. With the SRC2496 this problem is now history. The input of simultaneously eliminates any jitter present in the input signal.
your ULTRAMATCH PRO readily accepts any standard used today. On the output
There is no doubt that digital signal processing guarantees the lowest distortion
side, you can select either AES/EBU or S/PDIF, so that it is just a matter of one key
and noise values. However, up until now signal conversion, specifically sampling
press to realize the successful transfer of your audio material.
rate conversion, had partially led to considerable distortion and interference:
If you tried to use traditional methods, the incoming data quantity would far
exceed any hardware capacity. If data was put into smaller pieces to avoid
storage problems, the necessary turnaround time would prevent any practical
11 ULTRAMATCH PRO SRC2496 User Manual

application. Therefore, programmers continue to experiment with the most Table 4.3 presents the corresponding consumer-format data, as normally used
varied of algorithms, ending up, however, always having to make a compromise with S/PDIF-connections.
between computation efforts and sound quality.
Byte Bit
By processing data in real time, the processor used in the BEHRINGER
ULTRAMATCH PRO can process incredible amounts of data. 0 1 2 3 4 5 6 7
0 P/C Audio Copy Emphasis Mode
The noise and interference floor is thus below -117 dBFS, and the
distortion values, even with difficult input signals, are below -104 dBFS. 1 Category code Gen. st.
The ULTRAMATCH PRO remains practically inaudible as such values are not 2 Source number Channel number
normally achieved either by the A/D or the D/A converter, and certainly not by the 3 Sampling frequency Clock acc. Reserved
CD as the final product.
Tab. 4.3: Markers in consumer format IEC 958 Type II (S/PDIF)

4.2 AES/EBU and S/PDIF standards The first bit already defines whether the following bits are to be understood as
In principle there are two standards, the most important electrical characteristics of professional or consumer-format bits. As shown, the audio information can be
which can be seen in tab. 4.1. found at the same position in the data stream, in principle making both formats
compatible. There are, however, information blocks that differ in both norms. If a
AES/EBU is the professional, balanced connection via XLR connectors.
piece of equipment, such as a commercially available DAT recorder, has only one
This interface is based on two identical protocols published in November 1985
S/PDIF input, the equipment will usually understand that format only. It will thus
(EBU Tech. 3250-E) by the European Broadcast Union and in December 1985 by
usually stop when supplied with professional-format data. The reason is simple:
the Audio Engineering Society (AES3-1985). Sony and Philips oriented themselves
as shown in the illustrations, processing a professionally-coded signal with
to this standard and developed a further interface with unbalanced signal routing
equipment that can only understand consumer format can lead to malfunctions
and a few other major differences, predominantly related to the assignment
relating to the copy protect bit and the emphasis!
of the channel status bits. This interface, named after the two companies and
known as S/PDIF (Sony/Philips Digital Interface), uses either RCA connectors or However, this point is not always readily evident, as is the case with plug-and-
optical connections with optical fiber cables. The procedure, standardized in IEC socket connectors (e.g. 1/4" TRS connectors, mini-jacks and special adapters for
958, made a name for itself mainly due to efforts to introduce a copy protect Sub-D instead of XLR connectors). A lot of equipment has no stop function while
technique. This standard also describes the revised AES/EBU interface, which was other equipment can understand both formats despite having only one type
adapted to the S/PDIF format and named IEC 958 Type I (professional). The name of connector.
of the S/PDIF interface is then IEC 958 Type II (consumer). Your ULTRAMATCH PRO
In all of these cases using the ULTRAMATCH PRO as the ultimate problem solver
uses the latest versions of each of the standards, AES/EBU (AES3), IEC 60958 and
will soon pay off. Virtually, all common digital signals it receives at the input
EIAJ CP-1201 (Japanese standard).
appear at the output with new, clean markers in the respective chosen format.
Type AES/EBU IEC 958 Type II (S/PDIF)
Connection
Mode
XLR
Balanced
RCA/optical
Unbalanced
5. Installation
Impedance 110 Ohms 75 Ohms 5.1 General connection notes
Level 0,2 V to 5 Vpp 0,2 V to 0,5 V pp
The ULTRAMATCH PRO’s digital input and output connections are short-circuit-
I: ± 50 ppm II: 0,1%
Clock accuracy Not specified proof and transformer-balanced. This rules out any possibility of ground loops
III: Variable pitch
caused by additional ground connections, even when using the RCA connectors.
Jitter ± 20 ns Not specified Furthermore, the completely potential-free concept of the digital connectors
Tab. 4.1: Important data for AES and IEC 958 Type II specifications allows for using adapters in order to, e.g. route the RCA connector signal to the
XLR input of another piece of equipment.
Table 4.2 illustrates part of the structure of the professional format, as it would
Unlike digital connectors, analog connectors are not galvanically separated,
normally be used with AES/EBU connections.
but have a balanced design and are thus unproblematic in regard to
Byte Bit ground loops.
0 1 2 3 4 5 6 7
0 P/C Audio Emphasis Locked Sampl. freq.
5.2 Analog inputs and outputs
1 Channel mode Use of user bits In order to give your audio signals the best possible protection from
2 Use of AUX bits Sample length Reserved electromagnetic interference, the ULTRAMATCH PRO has balanced XLR inputs and
3 Reserved for description of multichannel recording outputs. As previously described, the level at the analog inputs can be adjusted
with the GAIN control. The outputs operate at studio level (+4 dBu). Please see
4 Audio ref. Reserved
the following illustrations for the pin assignment of the connectors.
5 Reserved
Of course, it is also possible to send signals to the SRC2496 from unbalanced
Tab. 4.2: Markers in professional format (AES/EBU)
outputs (e.g. sound cards or mixing console outputs) in order to further process
them in digitized form. Receiving analog signals (e.g. when using a high-end D/A
converter between a CD-Player and amplifier) from the ULTRAMATCH PRO via
unbalanced connectors (e.g. hi-fi amplifier or tape recorder) is not a problem, too.
12 ULTRAMATCH PRO SRC2496 User Manual

◊ When using the XLR connectors in an unbalanced configuration, pins 1

ULTRAMATCH PRO
and 3 on the connectors inserted must be interconnected! device A output signal flow
input

tip tip
mixing console signal flow ULTRAMATCH PRO
subgroup output analog input sleeve sleeve
shield

tip 1 2

sleeve shield Fig. 5.4: Connecting the ULTRAMATCH PRO in an unbalanced configuration

Basically, it is the same wiring scheme as is the norm for unbalanced audio
Fig. 5.1: Unbalanced transmission to the ULTRAMATCH PRO
connections in hi-fi systems, e.g. between a CD player and amplifier.
For distances less than 10 m, standard coaxial line cable has no negative
ULTRAMATCH PRO device A input
analog input
signal flow
hi-fi amplifier influence. However, should greater distances be involved, you should use XLR.

3
1 tip 5.3.3 Optical connection
shield sleeve
Toslink optical inputs and outputs are also not bound by the S/PDIF format.
They accept and deliver data streams in both the professional and the consumer
Fig. 5.2: Unbalanced transmission from the ULTRAMATCH PRO format. Optical connections are by nature not sensitive to electric interference
fields, easy to cable and astonishingly robust.
5.3 Digital inputs and outputs The following figure illustrates how to correctly connect the optical input and
output connections.
5.3.1 Balanced XLR connection
device A ULTRAMATCH PRO
The digital XLR inputs and outputs are not bound by the AES/EBU protocol. They accept optical output
signal flow
optical input
and deliver data streams in both the professional and the consumer format. Should the
RCA input already be occupied by another device, it is even possible to connect the RCA
output of, say, a CD player to the ULTRAMATCH PRO XLR input by using an adapter.
To do this, you will need a cable such as the one shown in fig. 5.2, except that
Fig. 5.5: Connecting the ULTRAMATCH PRO optically via Toslink
instead of a female XLR connector, a plug must be mounted.
The following figure illustrates how to correctly connect the balanced input ◊ For many consumer devices the consumer format at the optical input is
and output connectors. Basically, it is the same wiring scheme normally used an absolute necessity, otherwise they do not accept the signal.
for balanced audio connections such as, for example, the connection between a
◊ The ULTRAMATCH PRO does not support the ADAT multi-track format,
microphone and a mixing console.
which can thus neither be looped through nor converted. (ADAT is a
registered trademark of the Alesis Corporation)
device A output signal flow ULTRAMATCH PRO
input
5.3.4 Wordclock
2 1 1 2

shield
3

Feeding a wordclock signal into the rear BNC connector enables external
synchronization of the ULTRAMATCH PRO. Wordclock signals are normally
distributed in a network configuration, i.e. are relayed and terminated
Fig. 5.3: Connecting the ULTRAMATCH PRO in a balanced configuration with 75-Ohm coaxial cable, BNC-T adapters and terminating resistors.
Commercially available BNC cables are usually used as connecting cables.
Selecting the correct cable is not critical. For distances of less than 20 m, In order to offer maximum flexibility, the ULTRAMATCH PRO’s BNC input
generally available microphone cables have no negative effect. For greater has a high-impedance design and is not equipped with an internal 75-Ohm
distances or higher requirements (mobile operation, powerful high-frequency terminating resistor. Should the ULTRAMATCH PRO be the last device in the signal
fields), however, you should use special 110-Ohm cable with double shielding. chain, however, it is necessary to put a T-connector into the BNC connector.
A 75-Ohm terminating resistor (in the form of a short BNC plug) goes on one end
5.3.2 Unbalanced coaxial RCA connection of the T-connector and the BNC cable from the “master” delivering the wordclock
signal on the other end.
The RCA inputs and outputs, in turn, are not bound to the S/PDIF format. They accept
and deliver data streams in both the professional and the consumer format. It is The following figure shows how to correctly connect the unbalanced
even possible to connect the XLR output (e.g. from the BEHRINGER ULTRA-CURVE wordclock input. The wiring scheme is the same as is used for networking in
PRO DSP8024 or other equipment) to the RCA input on the ULTRAMATCH PRO by computer technology and you can thus obtain the appropriate accessories
using an adapter. Whether or not the reverse will work, namely connecting the (commercially available cable, T-connectors, terminating resistors) in specialist
ULTRAMATCH PRO’s RCA connector to the XLR input of another unit, depends on computer shops.
the sensitivity of the XLR input in question.
The following figure illustrates the correct connection for unbalanced input and
output connections via RCA plugs.
13 ULTRAMATCH PRO SRC2496 User Manual

6. Specifications
Word clock output Word clock input
device A ULTRAMATCH
signal flow Synchronization
terminating
resistor
Internal sampling rates 32, 44.1, 48, 88.2, 96 kHz
Synchronization via digital input accepts all sampling rates
and wordclock between 31 and 100 kHz,
Fig. 5.6: Unbalanced connection (termination) of the wordclock input to the ULTRAMATCH PRO automatic synchronization by PLL

When the ULTRAMATCH PRO is used as part of a chain of wordclock devices, it is Digital Input 1
also supplied with a wordclock signal via a T-connector, which is then relayed
to the next device from the other side of the T-connector via an additional BNC Type XLR, transformer-balanced
cable. The last device in the chain is then, as previously described, locked by way
Input impedance 110 ohms
of the T-connector and a 75-Ohm resistor. Some devices also have a switchable
terminating resistor, in which case the T-connector and terminating resistor are Nominal input level 0.2 V to 5 V, peak-to-peak
not necessary.
Digital Input 2
Word clock output Word clock input
device A ULTRAMATCH
signal flow Type RCA, transformer-balanced
more
devices Input impedance 75 ohms
Nominal input level 0.2 V to 5 V, peak-to-peak

Fig. 5.7: Unbalanced connection (loop through) of the wordclock input Digital Input 3

Type Toslink, optical fiber cable

5.3.5 Connecting with an adapter
In certain cases it makes sense to connect the SRC2496’s inputs and outputs to other Synchronization Input
devices via a cable adapter. If, for example, you wish to simultaneously connect
Type BNC
two DAT recorders and each has only one RCA (S/PDIF) connector, you can easily
connect one of the DAT recorders to the ULTRAMATCH PRO using an XLR/RCA Input impedance 50 kohms
adapter. The correct connection assignment of the adapter cable for this purpose
Standard Wordclock (1 x FS)
can be found in fig. 5.2.
Nominal input level 2 V to 6 V peak-to-peak
5.4 Headphones output
The headphones output on the front panel of the SRC2496 is on a 1/4" TRS Digital Output 1
connector. The connection assignment of the corresponding plug is shown in
Type XLR, transformer-balanced
fig. 5.8.
Output impedance 110 ohms balanced
¼" TRS headphones connector Nominal output level 3.5 V peak-to-peak
strain relief clamp
sleeve Digital Output 2
ring
tip
Type RCA, transformer-balanced
Output impedance 75 ohms
sleeve Nominal output level 0.5 V, peak-to-peak
ground/shield

ring Digital Output 3

right signal
tip
left signal
Type Toslink, optical fibre cable

Fig. 5.8: Correct wiring assignment for headphones connection

◊ Please note that high volume levels can damage your hearing and/or
your headphones. Turn the PHONES control to the far left before
turning on the device. Always take care to keep the volume level at an
appropriate level.
14 ULTRAMATCH PRO SRC2496 User Manual

Analog Inputs Power Supply

Type XLR, balanced Mains Voltage

Input impedance 20 kohms U.S.A./Canada 120 V~, 60 Hz
Converter 24-bit/96 kHz 128/64 times Europe/U.K./Australia 230 V~, 50 Hz
oversampling delta-sigma
Japan 100 V~, 50 - 60 Hz
AKM A/D converter
General export model 120/230 V~, 50 - 60 Hz
Input level -4 dBu to +22 dBu for 0 dBFS,
adjustable Power consumption 15 W
S/N-Ratio >105 dB Fuse 100 - 120 V~: T 250 mA H 250 V
200 - 240 V~: T 125 mA H 250 V
Analog Outputs Mains connection Standard IEC receptacle
Type XLR, balanced
Dimensions/Weight
Output impedance 160 ohms
Dimensions approx. 1.75 x 19 x 8.54"
Converter 24 bit/96 kHz 128 times oversampling
approx. 44.5 x 483 x 217 mm
delta-sigma AKM D/A converter
Weight approx. 5.06 lbs/2.3 kg
Output level +16 dBu @ 0 dBFS
Shipping weight approx. 7.48 lbs/3.4 kg
S/N Ratio >108 dB
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts,
Jitter Suppression modifications may be made from time to time to existing products without prior notice. Specifications and
appearance may differ from those listed or illustrated.
Jitter permitted at input >40 ns
Internal jitter at input <2 ns
Internal jitter with external <20 ns, 10 ns typ.
Synchronization

Channel Status Information in Output Signal

Professional mode Professional, audio use, stereo,

no emphasis or 50/15 µs,
Fs = 32, 44.1, 48, 88.2, 96 kHz
Consumer mode Consumer, audio use, 2-channel,
original material switchable,
copy permit switchable, no emphasis or
50/15 µs, Fs = 32, 44.1, 48 kHz;
(88.2, 96 kHz not defined)
15 ULTRAMATCH PRO SRC2496 User Manual

FEDERAL COMMUNICATIONS
COMMISSION COMPLIANCE
INFORMATION

ULTRAMATCH PRO SRC2496

Responsible Party Name: MUSIC Group Services US Inc.

Address: 18912 North Creek Parkway,
Suite 200 Bothell, WA 98011,
USA
Phone/Fax No.: Phone: +1 425 672 0816
Fax: +1 425 673 7647

ULTRAMATCH PRO SRC2496

complies with the FCC rules as mentioned in the following paragraph:
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. This equipment generates, uses and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC rules. Operation is subject to the
following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may
cause undesired operation.

Important information:
Changes or modifications to the equipment not expressly approved by MUSIC Group
can void the user’s authority to use the equipment.
We Hear You