SOUND ON SOUND
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Suffering from mysterious hums and buzzes in your studio? This down‑to‑earth explanation will help you identify and solve the problems — or hopefully avoid them in the first place!
The MBOX Studio from Avid combines a 21 in / 22 out audio interface with monitor control, cue mixing facilities, DSP effects, and built-in re-amping functionality.
Fluid Audio's latest monitors, the Image 2, will offer built-in room calibration capabilities thanks to direct integration with Sonarworks’ popular SoundID Reference software.
We test Fluid Audio’s most ambitious monitor yet.
RME's latest Fireface offers a total of 94 inputs and 94 outputs, improved A-D and D-A converters, DC-coupled analogue outputs and enhanced digital clocking and jitter suppression thanks to the company's SteadyClock FS technology.
If a cable is long relative to the wavelength of the signal it is conveying it is said to behave as a 'transmission line' and the signal is passed as an eletromagnetic wave along the cable. In this condition, the cable itself has a 'characteristic impedance' which can be thought of as the impedance measured at the input if the cable is infinitely long, and it depends on the cable construction — the materials and their geometries — rather than the length. It is necesary to terminate each end of a transmission line with the same impedance as its characteristic impedance. if this is not done the propagating wave will be reflected from the ends of the cable, and the reflected energy can interfere with the source signals.
The characteristic impedance of typical coaxial video and S/PDIF digital cables is 75 Ohms, while AES3 and RJ45 Ethernet cables is around 110 Ohms.
While mixing, I usually monitor with the control room level pot on my analogue console set between about four and five (out of 10)...
The MBox is back and it’s much better and certainly much bigger than it was before.
Audient expand the EVO range with a 24 in / 24 out model featuring eight on-board mic preamps.
A hardware device which acts as the physical bridge between the computer’s workstation software and the recording environment. An audio interface may be connected to the computer (via USB, Thunderbolt, FireWire, Dante, AVB or other current communication protocols) to pass audio and MIDI data to and from the computer. Audio Interfaces are available with a wide variety of different facilities including microphone preamps, DI inputs, analogue line inputs, ADAT or S/PDIF digital inputs, analogue line and digital outputs, headphone outputs, and so on. The smallest audio interfaces provide just two channels in and out, while the largest may offer 30 or more.
The precise timing of digital audio samples is critical to the correct operation of interconnected digital audio equipment. The 'metronome' that governs sample timing is called the Word Clock (sometimes conjoined to 'Wordclock', or abbreviated to 'Wclk'). However, word clock does more than merely beat time; it also identifies the start and end of each digital word or sample, and which samples belong to the left or right channels. Digital interfaces such as the AES3 and S/PDIF embody clock signals within the data stream, but it is often necessary to convey a discrete word clock between equipment as a square wave signal running at the sampling rate. Dedicated word clock inputs and outputs on digital equipment generally use BNC connectors.
Antelope's Discrete 4 is the latest model to gain their Synergy Core processing engine.
The Galaxy 32 Synergy Core now supports surround and immersive monitoring setups up to 16 channels.
The latest monitor in Neumann's KH range is a two-way bass reflex design featuring DSP control.
New range comprises three USB interfaces, each boasting Focusrite preamps with ISA emulation.
Bus-powered interface boasts high dynamic range, plus powerful Core DSP/FPGA engine.
The new Zen Go is a compact, bus-powered interface that features Antelope's now-familiar Synery Core processing engine.
Jitter in a digital system is a random or deterministic timing deviation from the required periodicity of a reference sample clock.
If affecting the clocking of an A-D converter it causes the analogue signal to be sampled at incorrect moments and thus generates amplitude errors in the digital data which cannot (easily) be removed. If the jitter is random this typically results in a slight increase in high-frequency noise and distortion.
If jitter affects the D-A converter it reproduces the accurate digital samples at slightly incorrect times, resulting in the reconstructed analogue waveform having amplitude errors. Again, if the jitter is random this typically results in a slight increase in HF noise.
More problematic is when the jitter has a deterministic character, often having fixed relationship to the system clocks or interfacing arrangements. This form of jitter creates unwanted spectral or tonal elements, and their typically anharmonic nature often makes them audible even when at extremely low amplitudes.
There are a variety of technical means of reducing and eradicating Jitter and, ideally, in a high quality digital audio system jitter should be in the low picoseconds range. Some digital clocking systems manage to get jitter down inro the femtosecond range!
Many digital interfaces, including S/PDIF and AES3, introduce some jitter (called interface jitter) as an inherent artefact of waveshape distortion caused by cable capacitance or fibre optic dispersion.
A digital audio interface which passes two digital audio channels, plus embedded clocking, control and status data, with up to 24 bits per audio sample and supporting sample rates up to 384kHz.