SKU: 2462190323

Gefen 4K Ultra HD 600 MHz 1:2 Scaler w/ EDID Detective and Audio De-Embedder

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Description

Gefen 4K Ultra HD 600 MHz 1:2 Scaler w/ EDID Detective and Audio De-EmbedderExperience cinema grade visuals and flexible multi display capability with the Gefen EXT UHD600A 12 DS. This compact HDMI 2. 0 scaler and splitter unlocks full bandwidth 4K HDR signals, delivering pristine image quality to two displays while simultaneously extracting audio for your outboard system. Designed for modern home theaters, digital signage, and professional AV installations, this device combines robust video processing with smart EDID

Experience cinema-grade visuals and flexible multi-display capability with the Gefen EXT-UHD600A-12-DS. This compact HDMI 2.0 scaler and splitter unlocks full-bandwidth 4K HDR signals, delivering pristine image quality to two displays while simultaneously extracting audio for your outboard system. Designed for modern home theaters, digital signage, and professional AV installations, this device combines robust video processing with smart EDID management to ensure reliable performance even in complex setups.

  • Split and scale HDMI 2.0 with HDR to two displays: enjoy consistent color, contrast, and clarity across two screens from a single source.
  • 1x HDMI input and 2x HDMI outputs: streamline multi-display deployments without sacrificing signal integrity or resolution.
  • EDID Detective: automatic, intelligent EDID negotiation that maintains compatibility with a wide range of displays and ensures the intended resolution and refresh rate are preserved.
  • Audio De-Embedder: extract high-quality audio from the HDMI stream to drive an external amplifier or audio system, simplifying AV routing in mixed setups.
  • Compact, reliable form factor optimized for desktop, rack-mount, or cabinet installations, ideal for pro-grade AV racks and home theaters alike.

Technical Details of Gefen 4K Ultra HD 600 MHz 1:2 Scaler w/ EDID Detective and Audio De-Embedder

  • Video bandwidth: 600 MHz TMDS, enabling full-bandwidth HDMI 2.0 performance and support for high-frame-rate, high-resolution content.
  • Video input: 1x HDMI input to receive the source signal from Blu-ray players, game consoles, streaming devices, or PCs.
  • Video outputs: 2x HDMI outputs to feed two displays simultaneously with independent scaling as needed.
  • Resolution support: capable of delivering 4K Ultra HD content at up to 60 Hz with HDR, ensuring rich color and dynamic range.
  • HDR support: includes HDR processing to preserve the enhanced highlights and details across connected displays.
  • HDMI version: HDMI 2.0 compliant, enabling full 4K/60 and 18 Gbps bandwidth for high-quality video and audio.
  • Color and processing: built-in scaling feature to fit output displays and maintain image quality across different panel capabilities.
  • EDID Detective: advanced EDID management to automatically select the most compatible timing, reducing dropouts and handshake issues on diverse displays.
  • Audio de-embedding: extracts audio from the HDMI stream for external amplification or dedicated audio systems, simplifying AV routing and enabling separate audio management.
  • Compatibility: designed to work with HDR content and modern HDMI 2.0 devices, maintaining broad compatibility in mixed-use environments.
  • Physical design: compact and durable enclosure suitable for desktop use or mounting in a professional AV rack with other Gefen gear.

how to install Gefen 4K Ultra HD 600 MHz 1:2 Scaler w/ EDID Detective and Audio De-Embedder

Setting up the Gefen EXT-UHD600A-12-DS is straightforward and quick, making it an excellent choice for both seasoned AV technicians and home theater enthusiasts. Follow these steps to achieve reliable multi-display output and high-quality audio de-embedding:

1) Power down all connected devices before wiring. This helps prevent EDID negotiation issues and ensures clean startup signaling.

2) Connect your HDMI source to the device's HDMI input. This is the single feed that will be split and scaled to two outputs.

3) Connect the two displays to the two HDMI outputs on the Gefen scaler. If one display supports 4K at 60 Hz and the other is a 1080p set, the EDID Detective feature will help negotiate the appropriate timing for each output while preserving the best available quality on both screens.

4) Attach your audio system to the device's de-embedded audio output. This provides clean, independent audio for an external amplifier, soundbar, or other audio equipment without relying on the display’s built-in speakers.

5) Power on the Gefen unit and all connected displays and sources. Allow a moment for EDID negotiation to complete. In many setups, the device will automatically select the most compatible resolution and refresh rate, delivering a seamless viewing experience across both outputs.

6) If needed, adjust the source device’s output resolution to a level compatible with both displays. In most cases, the EDID Detective will optimize settings automatically, but you may manually select 4K60 HDR on the source for the finest image quality on both screens.

7) Verify that both displays are actively receiving video. If one display appears dim or incorrectly scaled, revisit the EDID settings or re-seat cables to ensure clean connections. For signage or multi-display installations, confirm that the de-embedded audio is reaching the external amplifier as intended.

8) For advanced installations, you can mix and match display types (e.g., a 4K HDR display and a 1080p display) and rely on the scaler to maintain output quality on both, while EDID Detective handles timing and format negotiation behind the scenes.

9) When upgrading or changing source content, re-check the outputs. The 1:2 scaling capability remains constant, but certain high-bandwidth formats might require a moment of EDID negotiation to re-stabilize the signal path.

10) Routine maintenance and cable checks will help preserve long-term performance. Use high-quality HDMI cables rated for HDMI 2.0/HDCP to maintain signal integrity and minimize potential bandwidth bottlenecks.

In summary, the Gefen EXT-UHD600A-12-DS is designed to maximize flexibility in today’s multi-display environments. It delivers robust 4K HDR video to two displays while extracting audio for an external system, all within a compact, server-grade housing. Its EDID Detective technology reduces common headaches associated with mixed displays, ensuring a reliable, high-quality experience whether you’re building a home theater, a digital signage network, or a professional AV rack for events and conference spaces.

Frequently asked questions

Q: What resolutions can I expect when using the Gefen 4K Ultra HD 600 MHz 1:2 Scaler?

A: The device supports up to 4K Ultra HD at 60 Hz with HDR on the primary output and can scale to two displays simultaneously. HDR content is preserved where possible, and the EDID Detective helps negotiate compatible timings for each connected display.

Q: Can the scaler send different content to each display?

A: Yes. The unit is designed as a 1:2 scaler, meaning it can split the signal to two displays. Both outputs can carry the same content, while the EDID management ensures the chosen formats are presented cleanly to each screen.

Q: How does the Audio De-Embedder work?

A: The device extracts audio from the HDMI signal and routes it to an external audio system, such as an amplifier or soundbar. This lets you enjoy high-quality sound without relying on the displays’ built-in audio capabilities.

Q: Do I need software to operate this scaler?

A: No software is required. This is a hardware-based device with intuitive EDID management and on-device controls, designed for plug-and-play use in most setups. Some advanced configurations may benefit from adjusting source device settings, but software is not necessary for operation.

Q: Is HDMI 2.0 compatibility sufficient for modern devices?

A: Yes. The Gefen EXT-UHD600A-12-DS is built to work with HDMI 2.0 devices, supporting high-bandwidth 4K60 HDR content and reliable performance across a range of sources, displays, and media players.

Q: What if my displays have different maximum refresh rates?

A: The EDID Detective feature is designed to negotiate compatible formats for each connected display. In many cases, the primary output can maintain 4K60 HDR, while the second display may downscale to a compatible resolution if necessary, ensuring smooth operation without flicker or handshake issues.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
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SKU: 2462190323

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4.8 ★★★★★
Based on 17 reviews
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***moviemaker***
Dallas, US
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
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W.P.
Bozeman, US
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
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Reviewed in the United States on March 25, 2026
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Basket Case
Pawtucket, US
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future. Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless. Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar! The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co. And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today? I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society. The film can be a bit 'heavy' at times, though. Not everyone's cup of tea. Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012
J
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johnf
Carnegie, US
★★★★★ 5
The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things. The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring. The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world. If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
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Reviewed in the United States on January 31, 2016
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Todd7
Houston, US
★★★★★ 5
My favorite movie musical
The Umbrellas of Cherbourg (1964, Jacques Demy, Director) is a very straightforward love story that’s fairly predictable, but that doesn’t take away from its absorbing allure. In fact, I love this film so much that I’m willing to overlook some of the minor flaws in the blu ray transfer from Criterion. This transfer is somewhat grainy/hazy in picture quality, and the sound isn’t exactly clear; in fact, it can be slightly muffled at times. However, I’m not going to dwell on these few minor imperfections. Now, for the heart of the review: The Umbrellas of Cherbourg is so unique in that all of the dialogue is sung. This is definitely an acquired taste, but about 15-20 minutes in, I was used to it and all-in. The next thing that becomes obvious is its rich color; it’s sort of pastel-like, with some backgrounds that are quite striking. Finally, the last thing that jumps out is the continuous upbeat music in the film, with the exception of the main theme, which is an emotionally-charged melancholy number by Michel Legrand that is the heartbeat of the film. This film is really a heartfelt love story where fate is the prevailing narrative and force. It’s a film about important decisions and their outcomes. Along the way, there are familial issues, death, rebuilding with emotional crutches, and some humor injected at just the right times. Some of the dialogue is cliched, but I guess that’s par for the course in a love story? Finally, while watching this film, I could definitely see where the 2016 film, La La Land took so much inspiration from, especially the ending sequence and the upbeat musical numbers. Overall, The Umbrellas of Cherbourg is a masterpiece of a film that’s essential to your blu ray collection. The Criterion Collection usually does a stellar job with resorting older films, but for some reason this isn’t their best work. I was expecting better quality. The blu ray also contains some nice special features.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 22, 2025

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