arfi-adc2 - artistic fidelity ad-converter
24/192 analog-digital converter
We at ACOUSENCE have over 20 years of experience in music production. We know how instruments, larger ensembles and even symphony orchestras sound live and how outstanding analog technology sounds; we still produce vinyl records. We also know which aspects of the performance of music are artistically important and crucial for the best-possible emotional intensity.
We have placed a high priority on digital issues previously mentioned under afis and afi such as interfaces, HF interference and clocking. These are a good working basis, but the ultimate discipline is of course conversion between the analog and digital worlds. Because music is played analog by the artists and music is always heard analog; the human ear functions "analog".
ACOUSENCE consciously blazes its own trail when handling the issue of AD converters: reduction to the core elements, fully in the interest of audiophiles, short and simple signal paths; these are then highly sophisticated and fitted with the best components; every detail regarding design decisions are made separately and beyond the mainstream. Our ears and the music are higher priority than measurement technology. The goal is as perfect a reproduction of the music as possible, totally in line with our ideal of "artistic fidelity".
The arfi-adc2 has increasingly established itself as the new standard among AD converters. Combined with the right DAC - like the new arfi-dac2 - the ADDA path achieves a new unmatched transparency in the case of 24/192, which means in terms of there being no difference between analog signal and doubly-converted - AD followed by DA - even with the best analog sources.
The success of the arfi-adc2 is mainly due to its very high quality, even using standard sampling rates, because these are still mostly the standard today in the studios. It should be said, however, that the preferred use is 24/192, because only then can a digital transmission path function in an ideal way. An AD converter at a lower sampler rate than 192 kHz makes as little sense as having an even higher one. Because in contrast to the commonly held and mistaken belief that the limits of human hearing can somehow be used as a natural upper limit for digital signal theory, the reality is that only the bandwidth of the useful signal is crucial for the correct application of the theory or sampling theorem. However, we know from our many years of experience with recording at high sampling rates, that standard music recordings or the spectrums of musical instruments and analog equipment before the digital phase (microphone, microphone amplifier) have a bandwidth of up to 60/70 kHz. The theory - the all-important sampling theorem - only works when a sampling rate of at least 176.4 kHz is used (for further information see our article "Apply the sampling theorem correctly!"). The exact sampling rates of 176.4 kHz or 192 kHz are correct and necessary for music, since the bandwidth of the analog signal requires this.
We totally do away with the implementation of DSD. Even if this format is being urged on by some interested circles, it makes no sense technically. The 1Bit word width was already abandoned on delta-sigma converters 15 years ago, because only multibit stages could remove crucial technical drawbacks. The arfi-adc2 works with 6Bit /12.288 MHz internally, for example. DSD is always 1Bit - whether 64fs, 128fs or 256fs - and thus around 20 years behind current technical development (for more details, read the article "Apply the sampling theorem correctly!").
Another feature which should be mentioned is the construction of the input stage without any further amplifier stages or transistor circuits. There are only passive filtering elements and a very high-quality input transformer between analog inputs and the AD converter. This unusual design has proven to be musically superior over additional amplification stages and is surely partially responsible for the unusually precise contoured image of transients, tonal purity and a full, round basic sound - as far as the analog signal is so provided, because the arfi-adc2 does not make sound; it does its job, nothing more and nothing less.
arfi-adc2 - the uncompromising converter for the highest quality music and the suitable carrier of artistic performance in front of the microphone.