dCS VERONA MASTER Clock
Only a handful of audiophiles (who own original dCS gear) and PRO digital MUSICIANS will be able to effectively incorporate this highly specialized device into their home or studio systems.
(Please see our other dCS advertisements.)
Device for distributing a master word-clock signal in a digital production/playback environment.
Outputs: 5 word-clock on 75 ohm BNCs and 3 S/PDIF on RCAs, with switch-selectable dither.
Input: external reference clock on BNC, switchable between TTL and bipolar formats, will lock to external TTL clock signals ranging from 32kHz to 96kHz and bipolar 10MHz signals from, for example, a GPS clock.
Word-clock output frequencies: 44.1kHz, 48kHz.
Word-clock accuracy/stability: ±1ppm guaranteed after six months.
Typical power consumption: 16W
Dimensions: 18.15" W x 16.2" D x 2.7" H Weight: 18.7 lbs (un-boxed) Excerpt from Stereophile review...After adding the Verona to a dCS "stack"...
...On the face of things, nothing had changed. But there was an authority to the sound that I didn't remember from the (dCS) system pre-Verona. I went back to how I had had it all set up without the Verona, using the Elgar as the master clock. The sound was the same, but there was less "there" there. Without the Verona, the soundstage was slightly less developed, and the sense of images of musicians and a vocalist hanging there in the space between and behind the loudspeakers was slightly diminished.
I pushed all the correct buttons so the dithered Verona regained control. Back came that essential bit more authority. Tierney Sutton's creamy soprano on "I've Grown Accustomed to His Face" was that little more differentiated from the piano trio that supports her. The double bass and the piano had a solidity to their low registers that was addictive. The low strings of the bass guitar on Claire Martin's "Black Coffee" had a magnificence to their sound. The recorded acoustic of London's Henry Wood Hall on K622 was that bit more believably and realistically sized.
I dug out SACDs that I had gotten but forgotten. I played discs into the night that night and the next. Even such classical potboilers as the Polka and Fugue from Weinberger's Schwanda the Bagpiper (Erich Kunzel and the Cincinnati Pops, SACD, Telarc SACD-60595) had me sitting to attention...
Was it the Verona or was it the dither? It took me a very long time to settle on an answer to this question. Switching the dither on or off with the music playing made no noticeable difference. But whenever I decided that such instantaneous comparisons proved I was fooling myself, long-term listening with the dither active proved consistently more satisfying. On balance, I thought that the dithered Verona added what, for want of a better word, I can describe only as "magnificence."
Read more at http://www.stereophile.com/content/dcs-verona-master-clock-page-2#Vp8U1FUgSXP9A1Xi.99
PLEASE SEE ATTACHED PICTURES SHOWING WEAR AND TEAR
VERY FEW HOURS USE AS ORIGINAL RETAIL SHOWROOM DEMONSTRATIONS WERE BY APPOINTMENT ONLY
ORIGINAL BOX AND MANUAL INCLUDED