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Proceed (Mark Levinson) AVP2 Preamp/Processor (Mark Levinson)

Discussion in 'Hardware Classifieds' started by PhilCo, Mar 21, 2009.

  1. PhilCo

    PhilCo Well-Known Member

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    Categorically the best sounding DAC, analogue preamp and home theater processor one can get. Mint with box and manual. The parts that affect sound quality are exactly the same as the over $30,000 Levinson NO. 40.

    $1699.

    The fifth generation of any new product cycle is typically when the big benefits begin to reach affordable levels. Madrigal's Proceed AVP2 is very much in this tradition---the new multichannel audio-video surround processor shares plenty of technology found in the $30,000 Mark Levinson #40 Media Console, but the AVP2 sells for only $6,495.

    Features found in both models include the digital interface receiver (DIR), the "Intelligent FIFO" digital input buffer, and differential DACs for left and right front channels. The #40 and the AVP2 have "identical processing hardware and software," according to Madrigal, and both use four "SHARC" 32-bit fixed/floating point processors for the main zone.
    Capable of decoding up to eight channels, the AVP2 handles dts, dts-ES, Dolby Digital, THX Surround EX, MPEG-2, HDCD, and PCM-originated digital audio signals up to 24bit.96kHz, including Dolby Pro Logic II. Madrigal's proprietary Stereo Surround mode can be used to enhance two-channel recordings.

    THX Ultra
    — THX Ultra processing is used for movies which were
    originally created for theatrical release; THX may be added to any
    multichannel mode associated with movies (Dolby Digital/AC-3,
    Dolby Pro Logic, Dolby Pro Logic II Movie, DTS, MPEG).

    Pro Logic
    — manually selecting Pro Logic may be needed when
    listening to a conventional (PCM) digital signal, as from a
    laserdisc player, which does not have an identifying “flag” to indi-
    cate whether it is simply stereo, or Dolby Surround encoded. (In
    the case of AC-3, DTS, or MPEG, the AVP2 will know positively
    what sort of decoding is required and will provide it automati-
    cally.)

    Pro Logic + THX
    — adds THX Ultra II post processing to the basic
    Pro Logic decoding.

    Pro Logic II Movie
    — employs the more advanced Dolby Pro
    Logic II algorithm for decoding Dolby-encoded movie
    soundtracks. “DPL II” often yields sound that is surprisingly close
    to a discrete multichannel signal such as Dolby Digital 5.1 from
    older movies that lack the discrete multichannel soundtrack. (Note
    that the soundtrack should be encoded as a “2.0 Dolby Surround”
    signal for best results.)

    Pro Logic II + THX
    — adds THX Ultra II post-processing to Dolby
    Pro Logic II Movie decoding.

    Pro Logic II Music
    — a somewhat different configuration of the
    Pro Logic II algorithm which is optimized for use with ordinary
    stereo music recordings (that are not specially encoded to the 2.0
    Dolby Surround standard). This configuration often provides stun-
    ning multichannel sound from ordinary stereo recordings.

    stereo surround
    — for enjoying two-channel stereo recordings
    using all loudspeakers; this is an ambience extraction mode that
    uses the natural ambience in the recording itself, rather than syn-
    thesizing something artificial. The stereo surround mode tends to
    be somewhat more subtle than Dolby Pro Logic II. Use it if the
    PDL II Music mode seems a bit heavy-handed.

    mono surround
    — for monophonic recordings which would ben-
    efit from some degree of additional ambience or spaciousness,
    such as many classic movies and some sporting events.

    mono on center
    — a “true” mono, reproduced only through the
    center channel speaker (and subwoofer, if you have one). Noisy
    mono soundtracks often enjoy significant noise reduction by be-
    ing reproduced in this mode.
    19

    mono on front
    — the same as mono on center,

    Frequency response: 20 Hz – 20 kHz, +0dB, –0.2dB
    Total harmonic distortion: 0.005% @ 1 kHz, A-weighted
    Maximum output (XLR): 10 V rms
    Maximum output (RCA): 5 V rms
    Dynamic range: 100 dB (or better)
    Signal to noise ratio (balanced outputs): 105 dB (ref: 0 dB output)
    Channel separation: better than 100 dB
    Analog filter: Bessel-tuned, linear phase to 40 kHz
    Low-level linearity: deviation less than 1 dB to -90 dB FS
    (1 kHz, 20 bit data, 80 kHz measurement bandwidth)
    Volume range: 0.0 (off) to 91.0 dB
    Volume resolution: 0.5 dB steps above 31.0 in display
    1.0 dB steps between 11–31.0 in display
    2 dB steps below 11.0 in display
    Digital inputs:4 S/PDIF electrical on RCA
    1 S/PDIF electrical on BNC
    1 AES/EBU electrical
    1 EIAJ optical
    Analog inputs: 1 balanced stereo pair on XLR
    7 single-ended pairs on RCA
    RF Demodulator input: Digital Input 3 (w/opt. RF demodulator card)
    Digital input impedance:75? (S/PDIF electrical)
    110? (AES/EBU electrical)
    Digital output:1 RCA (S/PDIF electrical)
    Digital output impedance:75? (S/PDIF electrical)
    Main analog outputs: 3 balanced outputs (main left, center, right)
    8 single-ended outputs (5.1 plus 2 auxiliary channels)
    Analog output impedance:10 Ohms
    Available trigger current: 80 mA per outlet
    Power consumption: less than 50 W
    Shipping weight: 34 lbs. (15.5 kg)
     
  2. Tiny

    Tiny New Member

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    Do you have any pictures?
     

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