Signal coloration is additive and can kill an otherwise pristine mix. That’s why a colored mix begins to collapse while the transparent mix has space, definition and a level of detail that is simply unattainable with converters that add color and distortion. Lynx’s hallmark sonic transparency is why Lynx converters are being used in the most mission-critical audio applications and in the world’s finest recording facilities. Lynx converters have been specified for their uncanny ability to convert signals without adding any artifacts or color. For audio engineers and producers demanding the most pristine recordings and mixes Lynx is the converter of choice at facilities like Dolby’s new mega complex of audio research, Skywalker Sound, NPR, and the Smithsonian Institute. Lynx converters pass the most stringent tests and shoot outs to become the sought after converters for these discerning professionals. Precision matters more than ever and there is no place for even the slightest coloration or degradation of the signal.
Discrete Converter Array
Some manufacturers use multiple converters on a single chip. While that is one way to fit many converter channels in a single rack space while lowering costs, it comes at a steep cost in performance. At Lynx, the analog signal path for each channel has been designed as a self-contained and shielded circuit. Each channel pair has its own dedicated conversion device. This has many sonic advantages by significantly reducing crosstalk and distortion while increasing dynamic range and performance.
Line In (includes A/D Conversion)
THD+N
‐113dB @1kHz, ‐1dBFS, 20kHz filter, +20dBu trim
Dynamic range
119dB, A‐weighted, ‐60dBFS signal method
Frequency response
±0.010dB, 20–20kHz
Crosstalk
‐130dB maximum @ 1kHz, ‐1dBFS signal
Common mode rejection
greater than 80dB
Full‐scale trim settings
+6dBV, 20dBu
Headphone Out (includes D/A Conversion)
THD+N
‐107dB @1kHz, ‐1dBFS, 20kHz filter, volume at max
Dynamic range
120dB, A‐weighted, ‐60dBFS signal method
Frequency response
±0.025dB, 20–20kHz
Crosstalk
‐120dB maximum @ 1kHz, ‐1dBFS signal
Output level
18.4dBu maximum
Line Out (includes D/A Conversion)
THD+N
‐108dB @1kHz, ‐1dBFS, 20kHz filter, +20 dBu trim
Dynamic range
120dB, A‐weighted, ‐60dBFS signal method
Frequency response
±0.025dB, 20–20kHz
Crosstalk
‐130dB maximum @ 1kHz, ‐1dBFS signal
Full‐scale trim settings
+6dBV, 20dBu
Microphone Input (includes A/D conversion)
THD+N
-111dB (0.00028%) @1kHz, ‐1dBFS, 20kHz filter @ 21.6dB gain
EIN
-129dBu A-weighted, -60dBFS method
Dynamic Range
116dB A‐weighted, ‐60dBFS signal method @ 21.68dB gain
Frequency Response
+0.01 / -0.08dB max. Deviation over 20-20kHz band, -1dBFS @ all gain settings
Crosstalk
-127dB max. Adjacent channel, -1dBFS, 1kHz @ 21.6dB gain
Common Mode Rejection
75dB min. -1dBFS, 60Hz and 1kHz @61.6dB gain
Full-scale Input Level for A/D
28.7dBu
Input impedance
2.1k Ohm
Gain Settings
5.6dB/13.6dB to 68.6dB in 1dB steps
Pad attenuation
13.6dB
High-pass Filter
80Hz, 12 dB / octave
Connector
Female XLR on Neutrik jack
HI-Z input
THD+N
-109dB (0.00035%) 1kHz, -1dBFS, 20kHz filter
EIN
-115dBu A-weighted, -60dBFS method
Dynamic Range
114dB A-weighted, -60dBFS method @ 21.6dB gain
Frequency Response
+0.01 / -0.05dB max. Deviation over 20-20kHz band, -1dBFS
Crosstalk
-132dB max. Adjacent channel, -1dBFS, 1kHz
Full-scale Input Level for A/D
14.9dBu @5.6dB gain
Input impedance
1M Ohm unbal. (TS), 2M Ohm bal. (TRS)
Gain Settings Fixed
5.6dB/13.6dB to 68.6dB in 1dB steps
Connector
TRS on Neutrik jack
Line Input (includes A/D conversion)
THD+N
-113dB (0.00028%) @1kHz, ‐1dBFS, 20kHz filter @ 21.6dB gain
Dynamic Range
119dB A‐weighted, ‐60dBFS signal method
Frequency response
±0.010 dB max deviation over 20–20kHz
Crosstalk
-138dB max. adjacent channel, -1dBFS 1kHz @ 41.6dB gain
Common Mode Rejection
75dB min, -1dBFS, 60Hz and 1 kHz @ 61.6dB gain
Full-scale Input Level for A/D
20dBu
Gain settings
Fixed
Connector
Female XLR on Neutrik jack