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Weiss Engineering

The <B>Weiss ADC2</B> is the successor of our renowned two channel ADC1-MK2 A/D Converter.
<BR><BR>
 The ADC2 uses state of the art A/D chips in our proven “correlation technique” configuration, which lowers converter imperfections.
<BR><BR>
The analog input stages are kept balanced from the input connectors throughout to the converter chips. A high quality microphone preamplifier is built in as a standard feature.
<BR><BR>
Supported sampling frequencies are 44.1, 48, 88.2, 96, 176.4 and 192 kHz.
<BR><BR>
Output formats are AES/EBU in one or two wire technique, S/PDIF as well as Firewire for a direct connection to computers. (FireWire option not yet implemented).
<BR><BR>
Synchronization can be internal or external through AES/EBU or BNC (Wordclock).
<BR><BR>
The built in digital peak limiter allows for setting a generous headroom on the analog inputs and still get a full scale signal at the converter’s output.
<BR><BR>
A large bar graph shows the level to the A/D input, the output level and the gain reduction in the aforementioned Limiter.
<BR><BR>
The output wordlength can be reduced from 24 to 16 bits with the built in POW-R dithering. It is even possible to have one output running at 24 bits and another one at 16 bits. This feature comes handy when a safety copy to e.g. a DAT has to be made.
<BR><BR>
The analog input sensitivity can be set in 6dB steps via a relais controlled attenuator. An additional gain control is implemented in the DSP chip in the digital domain.
<BR><BR>
Both channel 1 and channel 2 are fully independent, except for the sampling rate and for the dither settings.
<BR><BR>
The AES/EBU sync input can be used as a digital audio input. This allows to limit and / or dither digital audio signals. The peak hold feature can be used to monitor a transfer and check for overloads which may have occured.

Weiss ADC2
Analog to Digital Converter

The <b>Weiss ADC2</b> is the successor of the renowned two channel ADC1-MK2 A/D Converter.
<br><br>
 The ADC2 uses state of the art A/D chips in our proven “correlation 
technique” configuration, which lowers converter imperfections.
<br><br>
The analog input stages are kept balanced from the input connectors 
throughout to the converter chips. A high quality microphone 
preamplifier is built in as a standard feature.
<br><br>
Supported sampling frequencies are 44.1, 48, 88.2, 96, 176.4 and 192 kHz.
<br><br>
Output formats are AES/EBU in one or two wire technique, S/PDIF as well as Firewire for a direct connection to computers.
<br><br>
Synchronization can be internal or external through AES/EBU or BNC (Wordclock).
<br><br>
The built in digital peak limiter allows for setting a generous headroom
 on the analog inputs and still get a full scale signal at the 
converter’s output.
<br><br>
A large bar graph shows the level to the A/D input, the output level and the gain reduction in the aforementioned Limiter.
<br><br>
The output wordlength can be reduced from 24 to 16 bits with the built 
in POW-R dithering. It is even possible to have one output running at 24
 bits and another one at 16 bits. This feature comes handy when a safety
 copy to e.g. a DAT has to be made.
<br><br>
The analog input sensitivity can be set in 6dB steps via a relais 
controlled attenuator. An additional gain control is implemented in the 
DSP chip in the digital domain.
<br><br>
Both channel 1 and channel 2 are fully independent, except for the sampling rate and for the dither settings.
<br><br>
The AES/EBU sync input can be used as a digital audio input. This allows
 to limit and / or dither digital audio signals. The peak hold feature 
can be used to monitor a transfer and check for overloads which may have
 occured.

Weiss ADC2-FW
Analog to digital converter with Firewire I/O

The <B>Weiss ADC2</B> is the successor of our renowned two channel ADC1-MK2 A/D Converter.
<BR><BR>
 The ADC2 uses state of the art A/D chips in our proven “correlation technique” configuration, which lowers converter imperfections.
<BR><BR>
The analog input stages are kept balanced from the input connectors throughout to the converter chips. A high quality microphone preamplifier is built in as a standard feature.
<BR><BR>
Supported sampling frequencies are 44.1, 48, 88.2, 96, 176.4 and 192 kHz.
<BR><BR>
Output formats are AES/EBU in one or two wire technique, S/PDIF as well as Firewire for a direct connection to computers. (FireWire option not yet implemented).
<BR><BR>
Synchronization can be internal or external through AES/EBU or BNC (Wordclock).
<BR><BR>
The built in digital peak limiter allows for setting a generous headroom on the analog inputs and still get a full scale signal at the converter’s output.
<BR><BR>
A large bar graph shows the level to the A/D input, the output level and the gain reduction in the aforementioned Limiter.
<BR><BR>
The output wordlength can be reduced from 24 to 16 bits with the built in POW-R dithering. It is even possible to have one output running at 24 bits and another one at 16 bits. This feature comes handy when a safety copy to e.g. a DAT has to be made.
<BR><BR>
The analog input sensitivity can be set in 6dB steps via a relais controlled attenuator. An additional gain control is implemented in the DSP chip in the digital domain.
<BR><BR>
Both channel 1 and channel 2 are fully independent, except for the sampling rate and for the dither settings.
<BR><BR>
The AES/EBU sync input can be used as a digital audio input. This allows to limit and / or dither digital audio signals. The peak hold feature can be used to monitor a transfer and check for overloads which may have occured.

Weiss Upgrade from ADC2 to ADC2-FW
Firewire upgrade from ADC2

The <b>Weiss AFI1</b> is a 24 channel Firewire Interface with 8 channels of bidirectional AES/EBU interfaces and 16 channels of bidirectional ADAT interfaces.
<br><br>
<b>The AFI1 simultaneously supports the following conversions:</b><ul>

<li> Firewire to AES/EBU (8 channels)
    </li><li> AES/EBU to Firewire (8 channels)
    </li><li> Firewire to ADAT ( 16 channels max.)
    </li><li> ADAT to Firewire ( 16 channels max.)</li></ul>

<b>Features of the AFI1</b>

<UL>
<li><b>Inputs:</b> Digital Audio inputs on Firewire (two connectors), XLR (AES/EBU), Toslink (ADAT, two connectors).

<li><b>Outputs:</b> Digital Audio outputs on Firewire (two connectors), XLR (AES/EBU), Toslink (ADAT, two connectors).
<li><b>Sampling Rates:</b> 44.1, 48, 88.2, 96, 176.4, 192 kHz. Number of ADAT channels at 44.1/48: 16, at 88.2/96: 8, at 176.4/192: 4.
<li><b>Software:</b> Drivers for Windows™ and OSX™ operating systems.
<li><b>Power Supply:</b> Supply range: 100..240V. Power consumption 10VA max. 
</ul>

Weiss AFI1 Firewire Interface
19 inch / 1HU Firewire to/from AES/EBU and ADAT Interface

The <B>Weiss DAC1</B> is a stereo 24 bit / 96khz D/A converter designed with the aim of keeping an absolutely uncompromised audio signal path. Much detail and thought was spent on the digital input as well as the analogue output stage. Both have in common the purest possible approach in audio design, aspiring for nothing less than excellence. This is coupled with an ergonomic design that gives the user immediate access to all necessary functions, while keeping an uncluttered and thus easy-to-use front panel. This combination makes a truly professional D/A converter catering for the highest expectations.<BR><BR>
The <B>Weiss DAC1-MK2</B> is similar to the DAC1 except for the sampling frequency range it can accept. The DAC1 works at 44.1 / 48 / 88.2 and 96kHz, while the DAC1-MK2 can handle 176.4 and 192kHz in addition.

176.4 or 192kHz signals must be connected to inputs 1 and 2 of the DAC1-MK2 in the two wire AES/EBU format. (The left channel goes to input 1, the right channel to input 2). If a valid two wire 176.4 or 192kHz signal is connected to the DAC1-MK2 and input number 1 is selected, then the unit will automatically detect such a signal and will light both input 1 and input 2 selection switches.
DAC1 units can be upgraded to DAC1-MK2 by swapping two chips inside the unit.<BR><BR>

<B>Features:</B> <BR><BR>
<B>Inputs</B><BR>

There are three digital inputs on XLR connectors, and one on Toslink (optical). The accepted sampling frequencies are 44.1, 48, 88.2 and 96kHz. AES/EBU signals on a single connector are used. Each XLR input is actively routed to a corresponding XLR digital output, allowing monitoring at multiple stages in a digital studio setup.<BR><BR>
<B>Synchronization</B>
<BR>
Several signal reclocking schemes are combined for extremely high jitter attenuation, making the DAC1 virtually immune to jitter over a very wide bandwidth.<BR><BR>
<B>Converters</B><BR>

The correlation technique (using two converters per channel) which was already successfully employed in the ADC1 gives the DAC1 an edge over other D/A converters with equal wordlength and sampling rate specifications, resulting in improved SNR and THD.
<BR><BR>
<B>Outputs</B>
<BR>
The discrete Class A outputs have a virtually zero Ohm output impedance, but still can drive large loads without stability problems. Output levels can be set between -infinity and +27dBu. The outputs are symmetrical, but do not have any sound degrading servo mechanisms built in. For asymmetrical operation only one leg of the XLR connector (plus ground) is used.
<BR><BR>
<B>Remote</B>
<BR>
By hooking up an analog potentiometer or fader to the remote connector, the output level can be remote controlled. This level control happens in the digital domain. The input source selection can also be remote controlled.<P>

Weiss DAC1 MKII
DAC1, 192K Version

The <B>Weiss DAC1</B> is a stereo 24 bit / 96khz D/A converter designed with the aim of keeping an absolutely uncompromised audio signal path. Much detail and thought was spent on the digital input as well as the analogue output stage. Both have in common the purest possible approach in audio design, aspiring for nothing less than excellence. This is coupled with an ergonomic design that gives the user immediate access to all necessary functions, while keeping an uncluttered and thus easy-to-use front panel. This combination makes a truly professional D/A converter catering for the highest expectations.<BR><BR>
The <B>Weiss DAC1-MK2</B> is similar to the DAC1 except for the sampling frequency range it can accept. The DAC1 works at 44.1 / 48 / 88.2 and 96kHz, while the DAC1-MK2 can handle 176.4 and 192kHz in addition.

176.4 or 192kHz signals must be connected to inputs 1 and 2 of the DAC1-MK2 in the two wire AES/EBU format. (The left channel goes to input 1, the right channel to input 2). If a valid two wire 176.4 or 192kHz signal is connected to the DAC1-MK2 and input number 1 is selected, then the unit will automatically detect such a signal and will light both input 1 and input 2 selection switches.
DAC1 units can be upgraded to DAC1-MK2 by swapping two chips inside the unit.<BR><BR>

<B>Features:</B> <BR><BR>
<B>Inputs</B><BR>

There are three digital inputs on XLR connectors, and one on Toslink (optical). The accepted sampling frequencies are 44.1, 48, 88.2 and 96kHz. AES/EBU signals on a single connector are used. Each XLR input is actively routed to a corresponding XLR digital output, allowing monitoring at multiple stages in a digital studio setup.<BR><BR>
<B>Synchronization</B>
<BR>
Several signal reclocking schemes are combined for extremely high jitter attenuation, making the DAC1 virtually immune to jitter over a very wide bandwidth.<BR><BR>
<B>Converters</B><BR>

The correlation technique (using two converters per channel) which was already successfully employed in the ADC1 gives the DAC1 an edge over other D/A converters with equal wordlength and sampling rate specifications, resulting in improved SNR and THD.
<BR><BR>
<B>Outputs</B>
<BR>
The discrete Class A outputs have a virtually zero Ohm output impedance, but still can drive large loads without stability problems. Output levels can be set between -infinity and +27dBu. The outputs are symmetrical, but do not have any sound degrading servo mechanisms built in. For asymmetrical operation only one leg of the XLR connector (plus ground) is used.
<BR><BR>
<B>Remote</B>
<BR>
By hooking up an analog potentiometer or fader to the remote connector, the output level can be remote controlled. This level control happens in the digital domain. The input source selection can also be remote controlled.<P>

Weiss Upgrade from DAC1 to DAC1 MKII
Upgrade your DAC1 to DAC1 MKII

Weiss DAC2 D/A Converter
Stereo D/A Converter with Firewire connectivity and AES/EBU inputs and outputs

Weiss DNA1
2 Channel Denoiser / Declicker / Ambience Processor

Weiss Upgrade from DNA1-K to DNA-1
Upgrade your DNA1-K to DNA-1

Weiss Upgrade from DNA1-N or DNA1-K to DNA-1
Upgrade your DNA1-N or DNA1-K to DNA-1

Weiss DNA1-C
2 Channel Declicker / Ambience Processor

Weiss Upgrade from DNA1-K to DNA1-C
Upgrade your DNA1-K to DNA1-C

Weiss DNA1-K
2 Channel Ambience Processor (K-Stereo, M/S)

Weiss DNA1-N
2 Channel Denoiser / Ambience Processor

Weiss Upgrade from DNA1-K to DNA1-N
Upgrade your DNA1-K to DNA1-N

The MK3 version of the DS1 - a software upgrade for the DS1-MK2:
<ul>
<li>Independent parameter control in the two channels
</li><li>M/S mode selectable
</li><li>Sidechain link on / off switchable
</li><li>Peak / RMS sidechain processing
</li><li>Factory Presets programmed by Mr. Bob Katz
</li><li>24 Bit POW-R dithering
</li><li>DS1-MK2 snapshots can be loaded in</li></ul>

Users of the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board of their DS1 for a new one. This can easily be done by the customer.

<br><br>
The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the <b>Weiss Gambit DS1</b>, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity.
<br><br>
In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.<br>
<ul>
   <li>Presets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor/limiter type.
    </li><li>Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals.
    </li><li>Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency.
  </li><li>Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time.
    </li><li>Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold.
    </li><li>Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.</li></ul>
<br><br>
<b>Some noteable features:</b><ul>

<li>Soft knee feature
    </li><li>Dual mode unit (DeEsser or Compressor/Limiter)
    </li><li>Oversampling sidechain
  </li><li>Oversampling audio path in Compressor / Limiter mode
  </li><li> Linear-phase band splitter
   </li><li>Overall delay controllable in multiples of video frames
   </li><li>Preview delay for early anticipation of level peaks
    </li><li>Graphical LCD with comprehensive metering and settings information
    </li><li> Metering of input level, output level, gain reduction
   </li><li>128 snapshots with 2 times 128 snapshots backup
   </li><li>Each parameter MIDI controllable, MIDI dump of snapshots
    </li><li>AES/EBU input / output
    </li><li>The DS1 is absolutely bit-transparent as long as no gain reduction occurs - even in De-Esser mode.</li></ul>

Weiss DS1-MK3
Digital mastering compressor/limiter/de-esser - 96 kHz

The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the <B>Weiss Gambit DS1</B>, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity.
<BR><BR>
In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.<BR>
<UL>
   <LI>Presets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor/limiter type.
    <LI>Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals.
    <LI>Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency.
  <LI>Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time.
    <LI>Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold.
    <LI>Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.</UL>
<BR><BR>
<B>Some noteable features:</B><UL>

<LI>Soft knee feature
    <LI>Dual mode unit (DeEsser or Compressor/Limiter)
    <LI>Oversampling sidechain
  <LI>Oversampling audio path in Compressor / Limiter mode
  <LI> Linear-phase band splitter
   <LI>Overall delay controllable in multiples of video frames
   <LI>Preview delay for early anticipation of level peaks
    <LI>Graphical LCD with comprehensive metering and settings information
    <LI> Metering of input level, output level, gain reduction
   <LI>128 snapshots with 2 times 128 snapshots backup
   <LI>Each parameter MIDI controllable, MIDI dump of snapshots
    <LI>AES/EBU input / output
    <LI>The DS1 is absolutely bit-transparent as long as no gain reduction occurs - even in De-Esser mode.</UL>
<BR><BR>
<B>The Weiss DS1-MKII - another leap into the future for the Gambit Series.</B><BR>
The Gambit DS1-MK2 is a compressor / limiter / de-esser, supporting all the features needed in a DVD or CD mastering environment: 96kHz 40bit processing, simultaneous de-essing and limiting spiced with a host of signal processing capabilities.
<BR><BR>
<B>Features added for the MK2 version are:</B>
<UL>
    <LI> full band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz)
     <LI>upward expansion to re-introduce dynamics in previously compressed signals
     <LI>a second completely independent dynamics section working as a final peak-limiter in both modes (frequency selective and full band compressor)
     <LI>parallel compression mode for artefact-free operation
     <LI>additional gain control in front of the peak-limiter for even higher loudness
     <LI>88.2 / 96 kHz operation
    <LI> POW-R dither
</UL><BR>
Add to this the standard features of the DS1 (MIDI controller and snapshot remote control, touch sensitive knobs, backlit LCD, non-volatile backup memory for up to 3 x 128 snapshots, 24bit I/O), and you have the most comprehensive full band and band selective dynamics tool available for money - our customers agree with that.
<BR><BR>
Current DS1 owners can upgrade their units to the MK2 version by replacing the DSP board.

Weiss Upgrade from DS1 to DS1-MK3
Upgrade from DS1 to DS1-MK2

The Weiss 102 Series split band De-Esser is one of the mastering industry's most highly praised digital products. Now Weiss engineers have taken their De-Esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is the <B>Weiss Gambit DS1</B>, a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity.
<BR><BR>
In De-Esser mode the compression band is selectable as a lowpass, bandpass or highpass and extends the functionality beyond de-essing. The crossover filters are linear phase for the highest sonic quality. The full band dynamics processor with soft knee compressor and hard limiter is ideal for program loudness control.<BR>
<UL>
   <LI>Presets keys: let you select a bank of factory presets which can't be changed by the user, but which can be copied into normal snapshots and edited from there. Two banks of factory presets are given, de-esser type and compressor/limiter type.
    <LI>Monitor key: Allows to listen to the filtered signal only, i.e. the one being processed by the dynamics section, facilitates the search for offending signals.
    <LI>Bandsplitting: When touching "bandwidth" or "frequency", the soft keys will select which type of band (low, mid, high). The LEDs above the frequency knob show the current status. Frequency knob selects the corner / center frequency.
  <LI>Attack, Release etc.: Attack, release delay and release fast/slow with averaging knobs make up a powerful yet easy to operate timing section for optimum sound treatment. The LEDs between the knobs light depending on the automatically selected release time.
    <LI>Soft knee knob gives a variable soft knee characteristic (from no soft knee to very gentle). The LED above the knob lights if the input level is in the soft knee region. The LED above the threshold knob lights of the input level is above the threshold.
    <LI>Gain makeup allows for zero gain makeup in DeEsser mode and for as much gain makeup as possible in the compressor/limiter mode. Touching the gain makeup knob assigns the softkeys to select the various modes.</UL>
<BR><BR>
<B>Some noteable features:</B><UL>

<LI>Soft knee feature
    <LI>Dual mode unit (DeEsser or Compressor/Limiter)
    <LI>Oversampling sidechain
  <LI>Oversampling audio path in Compressor / Limiter mode
  <LI> Linear-phase band splitter
   <LI>Overall delay controllable in multiples of video frames
   <LI>Preview delay for early anticipation of level peaks
    <LI>Graphical LCD with comprehensive metering and settings information
    <LI> Metering of input level, output level, gain reduction
   <LI>128 snapshots with 2 times 128 snapshots backup
   <LI>Each parameter MIDI controllable, MIDI dump of snapshots
    <LI>AES/EBU input / output
    <LI>The DS1 is absolutely bit-transparent as long as no gain reduction occurs - even in De-Esser mode.</UL>
<BR><BR>
<B>The Weiss DS1-MKII - another leap into the future for the Gambit Series.</B><BR>
The Gambit DS1-MK2 is a compressor / limiter / de-esser, supporting all the features needed in a DVD or CD mastering environment: 96kHz 40bit processing, simultaneous de-essing and limiting spiced with a host of signal processing capabilities.
<BR><BR>
<B>Features added for the MK2 version are:</B>
<UL>
    <LI> full band crossover in frequency selective mode (ranging from 41 Hz to 7.7kHz)
     <LI>upward expansion to re-introduce dynamics in previously compressed signals
     <LI>a second completely independent dynamics section working as a final peak-limiter in both modes (frequency selective and full band compressor)
     <LI>parallel compression mode for artefact-free operation
     <LI>additional gain control in front of the peak-limiter for even higher loudness
     <LI>88.2 / 96 kHz operation
    <LI> POW-R dither
</UL><BR>
Add to this the standard features of the DS1 (MIDI controller and snapshot remote control, touch sensitive knobs, backlit LCD, non-volatile backup memory for up to 3 x 128 snapshots, 24bit I/O), and you have the most comprehensive full band and band selective dynamics tool available for money - our customers agree with that.
<BR><BR>
Current DS1 owners can upgrade their units to the MK2 version by replacing the DSP board.

Weiss Upgrade from DS1-MK2 to DS1-MK3
Upgrade from DS1 to DS1-MK2

The <B>Weiss EQ1</B> is available in four different configurations. All of them work at 24/96. The basic model is the <B>EQ1MK2</B>, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. <BR>
<P><B>Here are the main features common to all four models:</B></P>
<UL>
<LI>Seven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost/Cut, Frequency and Q/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. 
<LI>One parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. 
<LI>Large, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. 
<LI>A/B compare memory, 128 snapshot bank with two additional banks for back-up. 
<LI>Digital input / output in AES/EBU format on XLR connectors. 
<LI>Dithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. 
<LI>128 steps for boost/cut, frequency and Q parameters. 
<LI>Variable slope shelving filters. 
<LI>Very high Q (up to 650) for notching out offending frequencies. 
<LI>M/S mode for independent equalization of M and S channels. M/S encoder / decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon 
<LI>Peak meter, over indicators. 
<LI>MIDI control for each parameter. 
<LI>Bypass, overall gain, CH1/2 independent or ganged.</LI></UL>
<P>
<font size="3" face="Verdana, Arial, Helvetica, sans-serif"><strong>Configuration Options</strong></font> <BR><BR><B>EQ1-MK2<BR></B>The EQ1-MK2 is the base model and offers all of the above features.</P>
<P><B>EQ1-LP, the EQ1-MK2 with linear phase response</B><BR>The EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.</P>
<P>The impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.</P>
<P>The sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.</P>
<P>The linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.</P>
<P><B>EQ1-DYN, the EQ1-MK2 with four dynamic bands</B><BR>For the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.<BR>You adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.</P>
<P><B>Multi-band dynamic? Or dynamic multi-band?</B></P>
<P>The EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.</P>
<P><B>EQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit</B><BR>The EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. </P>
<P>The workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.</P>

Weiss EQ1-DYN
Dual seven-band digital EQ with dynamic control on four bands

The <B>Weiss EQ1</B> is available in four different configurations. All of them work at 24/96. The basic model is the <B>EQ1MK2</B>, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version. <BR>
<P><B>Here are the main features common to all four models:</B></P>
<UL>
<LI>Seven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost/Cut, Frequency and Q/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass. 
<LI>One parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band. 
<LI>Large, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q. 
<LI>A/B compare memory, 128 snapshot bank with two additional banks for back-up. 
<LI>Digital input / output in AES/EBU format on XLR connectors. 
<LI>Dithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models. 
<LI>128 steps for boost/cut, frequency and Q parameters. 
<LI>Variable slope shelving filters. 
<LI>Very high Q (up to 650) for notching out offending frequencies. 
<LI>M/S mode for independent equalization of M and S channels. M/S encoder / decoder can be configured separately. Also see the article Stereo Shuffling: New Approach - Old Technique by Michael Gerzon 
<LI>Peak meter, over indicators. 
<LI>MIDI control for each parameter. 
<LI>Bypass, overall gain, CH1/2 independent or ganged.</LI></UL>
<P>
<font size="3" face="Verdana, Arial, Helvetica, sans-serif"><strong>Configuration Options</strong></font> <BR><BR><B>EQ1-MK2<BR></B>The EQ1-MK2 is the base model and offers all of the above features.</P>
<P><B>EQ1-LP, the EQ1-MK2 with linear phase response</B><BR>The EQ1-LP has the same parameter set as the EQ1-MK2 and is therefore fully snapshot and MIDI control compatible. Sampling frequencies supported are 44.1, 48, 88.2 and 96kHz.</P>
<P>The impressive list of features of the EQ1-MK2 is in the EQ1-LP further extended with a linear phase response. This means that the delay introduced by processing is now constant across the whole spectrum, unconstrained by eq settings - this is not the case with standard equalizers, where signal delay varies with frequency, with the length of the delay depending on the amplitude response.</P>
<P>The sound, or character, of an equalizer has been said to be influenced by phase response (for example John Watkinson: ...much of the audible difference between EQs comes down to the phase response., Studio Sound 9.97). The EQ1-LP is therefore the ideal tool for corrective amplitude adjustment, without the unwanted phase distortion added by standard equalizers.</P>
<P>The linear phase feature can be turned off, resulting in the exact same sound as the EQ1-MK2. So for creative sound designing, there is the benefit of two different equalizers in one machine.</P>
<P><B>EQ1-DYN, the EQ1-MK2 with four dynamic bands</B><BR>For the first time, Weiss Engineering brings an exciting new feature to its EQ palette: dynamic control in the frequency domain.<BR>You adjust the EQ to a nominal setting. The input signal is then analyzed to determine exactly how much equalization need actually be applied. If the signal is already loud in a certain band, it is not boosted even more. Or, alternatively, if you want to attenuate certain frequencies, these are only attenuated when they exceed a certain level.</P>
<P><B>Multi-band dynamic? Or dynamic multi-band?</B></P>
<P>The EQ1-DYN features four freely adjustable dynamic bands, and additionally three linear bands per channel. Setting up the dynamic bands is as easy as setting a linear band. There is just one additional parameter to be adjusted by the user, the threshold control. This makes multi-band dynamic control as easy and as versatile as adjusting a parametric equalizer.</P>
<P><B>EQ1-DYN-LP, Dynamic and Linear Phase EQ in a single unit</B><BR>The EQ1-DYN-LP contains both the Dynamic and the Linear Phase EQ programs. After power-up of the unit, the user can chose between Dynamic (DYN) and Linear Phase (LP) modes. This allows to use a single unit for a wealth of different equalizing tasks. </P>
<P>The workspace storage, the snapshots and the snapshot backups are fully independent between the DYN and LP parts of the unit. This means that all setup data are retained in any case. Users of EQ1-LP and EQ1-DYN units can upload their current snapshot data into the EQ1-DYN-LP via MIDI.</P>

Weiss Upgrade from EQ1 or EQ1MK2 to EQ1-DYN
7 Band Equalizer Upgrade

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