![]() ![]() ![]() You can see from this that Weiss’s background in studio equipment design, which relies on precise impedance and voltage matching, has also crept into his domestic designs. They say it should be 0dB if the amplifier’s input impedance is 900Ω or more, –10dB if it’s 100Ω or more, –20dB if it’s 60Ω or more and –30dB if it’s 40Ω or higher. Weiss says that the setting you use should be dictated by the input impedance of the amplifier you’re using with the DAC 502. If you use the XLR outputs (which would be my preference) you can adjust the maximum output voltage through four different settings – 0dB, –10dB, –20dB and –30dB which the specifications say will result in maximum output voltages of 6.8-volts, 2.2-volts, 0.68-volts and 0.22-volts (but see the test results measured by Newport Test Labs at the end of this review). There’s also a four-pin balanced headphone output on the rear panel. There are no digital outputs, so whatever digital signal you input must come out as analogue, which it can do via the front-panel headphone output, which can be used ‘straight’ or routed through a crossfeed circuit (about which more later), or from XLR (balanced) or RCA (unbalanced) outputs on the rear panel. The optical (Toslink) input does only 44.1kHz, 48kHz, 88.2kHz, and 96kHz rates. The USB and RJ45 Ethernet inputs do all those same sampling rates, but add 176.4kHz, 192kHz, 352.8kHz, 384kHz, DSD64, and DSD128 as well. The AES/EBU and S/PDIF inputs accept 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, and 192kHz signals up to 24-bits. It has five digital inputs, all of which accept professional AES/EBU or consumer (S/PDIF) digital signals via XLR, RCA, Toslink, USB (Type B) and Ethernet inputs. But at its heart, the Weiss DAC 502’s primary function is to operate as a DAC, so let’s look at its capabilities in this regard. ![]()
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