![]() ![]() So similarly I will clock the mixer to an external word clock that is generated by the same reference generator providing sync to the video devices, make the mixer the master that is enabled to sync externally, and then boom, I'm good. Easy enough, and has worked consistently at multiple sites.Īnother situation might be I will have an audio board that will need to pull in AES signals, but still interface with Dante devices. I then set up the Ferrofish to enable external sync and make it the Dante master. In this scenario, I need to clock the Ferrofish to word clock so that it can be in sync with the MADI signal coming in(the video router is clocked to video reference from the same generator outputting word clock). I will connect that to a Ferrofish A32 Dante to present that de-embedded audio to the Dante network, and then patch that audio in Dante Controller to a mixer, generally something like a Yamaha QL1 or QL5. A typical installation will be a Ross Ultrix router with the MADI SFP. An example, I will have a video router with a MADI output to de-embed audio and present it to my audio board. I routinely need to interface broadcast type equipment with live sound type of equipment. ![]() My question to the forum is how are you handling mixing clock sources? I've been able to manage this so far in the following ways, but I know I'm going to run into a situation sooner or later where it will get tricky. I'm level 2 certified, not that it is that hard to be certified. I am a broadcast engineer who designs, installs, and configures multiple different types of systems and we're using Dante more and more. This sounds like something you'd want, but would this result in a sturdier house? Probably not - it's a level of precision that's not necessary when framing a house.Hello everyone. He might advertise that all 2x4s are measured with a digital micrometer and cut with a laser saw. Here's an analogy to understand this issue - imagine a home builder that advertised precision carpentry when framing your house. A film in which frame frequency drifts may play for 2 hours, 10 minutes and 2 seconds instead of 2 hours, 10 minutes and 0 seconds - no one could ever perceive a difference. A film in which frame jitter occurs will result in jerky and unnatural movement - something immediately perceptible. To get a better idea of the difference between jitter and frequency drift, think about the projection of a film. Features such as "atomic" or "oven-controlled" clocks provide a level of frequency stability that provides no audio benefit, just marketing talking points. It's also important that a clock's frequency is stable, but at a certain point an improved frequency stability offers no real benefit to a digital audio system. To learn why, check out this KnowledgeBase entry: What is jitter? It's crucial that digital audio clocks have the lowest jitter possible, above all in the A-to-D and D-to-A conversion stages. Note that the space between vertical transition line is consistent in both examples, just smaller in one. Now, here's a good clock compared to one with whose frequency has drifted. To understand the difference between jitter and frequency drift, here are a few graphical representations of a word clock signal. Here's a good word clock signal compared to a jittery one - notice that the space between the vertical transition lines is consistent in the good clock, but inconsistent in the jittery clock. ![]() One attribute is crucial to the quality of your digital audio system, the other is certainly important but less critical. ![]() When evaluating digital audio clocks, two attributes are often discussed - jitter and frequency drift. ![]()
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