Santa Monica, CA, February 21, 2014 – Eric Sarafin, aka Mixerman, has an accomplished CV, having published three audio related music titles and having mixed recordings by top artists, including Ben Harper, Barenaked Ladies, Amy Grant and most recently, Foreigner — =which enlisted Mixerman’s signature talents on its newest Foreigner Live album. With all his diverse projects and interests, Sarafin is something of a renaissance man in the recording arts. Indeed, he is constantly pursuing the best possible audio quality in his own mixes, and has recently discovered the ultimate pairing of digital audio technology with Antelope Audio’s Orion32 multi-channel converter and its Isochrone 10M clock. Antelope caught up with Mixerman at the recent 2014 NAMM Show, where he discussed how this conversion and clocking combination has moved the dial ahead on digital audio.
What devices need clocking?
In a simple system featuring one audio interface with built-in mic preamps connected to a computer-based DAW, the interface clocks the DAW since the most clock-critical element of the audio chain is the A/D converter, as that’s built in to the interface. If you were to add an external digital device to the equation (reverb, multi-effects processor etc), it should be configured to work as a clock slave to the interface.
Following that logic, even in bigger and more complex studios, it’s generally best to use an A/D as the master clock. If there’s more than one of these you’ll need to decide which one to use as the master, and everything else will have to be slaved to that. It’s quite possible that there will be audible differences between various configurations, because most A/Ds will perform slightly differently when configured as clock master and slave.
The team at Digital Encoding System near Paris, France, is working on a major and long-term job: transferring to high resolution digital, stereo masters and multi-track analog tapes of the greatest French artists since the 50’s such as Georges Brassens, Serge Gainsbourg, Barbara, Jacques Brel, Johnny Hallyday…
Rubicon caters to the ever-increasing interest in high-resolution audio, addressing the specific needs of high-end consumer electronics enthusiasts for accurate audio representation and detailed soundstage of both analog and digital recordings. It is the first DAC to integrate a Rubidium atomic clock, which is 100,000 times more stable than a traditional crystal oscillator.
“It is a fantastic honor to be recognized by the CES Innovations Design and Engineering Awards,” commented Igor Levin, CEO and Founder of Antelope Audio. “The Rubicon is a representative engineering milestone certainly for our own company, but more importantly for consumers since it dramatically improves the overall listening experience.”
by Robert Dugan, Sound Engineer
I‘ve personally used Antelope Audio in the Live Sound domain. At first, I was skeptical of how much clocking could really change the sound, especially since I was using a digital console. But after the unpacking and setting up, it was all ready to go within five minutes and, if I would have known how I was going to react, I would have prepared a little better.
Upon hearing Deftones “Digital Bath,” it seemed like the PA had come alive after sleeping for years. The drums were lifelike and it sounded like I was listening to the Deftones right in the rehearsal room. Immediately, I thought that the clock couldn’t be doing all of this, so I unplugged the BNC from console to Trinity. The sound seemed to escape and it reminded me of listening to the song through iPod headphones – thin and one road.
by Robert Dugan, Sound Engineer
The Importance of Clocking
Like it or not, the digital age is coming in full force, making every audiophile worried about quality being lost. This is why it’s best to educate audiophiles and consumers about the importance of clocking. I’ll try and make this easy to understand and straight to the point. When an analog signal is about to be converted to a digital signal, it is represented by bits that are representations of the analog waveform. When two points that are represented are slightly off, they create jitter – which is digital distortion.
Clocking can play a very important role during this process. With all these signals digitized, it’s important that the timing and space between every ‘bit’ are exactly the same (in sync), so the audio source has no jitter. This is where Clocking comes into play by synching all the audio signals.
Rubicon is a 384 kHz converter, phono stage preamp and headphone amplifier with an integrated atomic clock.
Santa Monica, CA, April 19, 2012 – Antelope Audio will introduce Rubicon, a groundbreaking 384 kHz digital audio preamplifier which integrates the world renowned 10M Rubidium atomic clock. Rubicon caters for the ever-increasing interest in high resolution audio, addressing the specific needs of high end consumer electronics enthusiasts for accurate audio representation and detailed soundstage of both analog and digital recordings. The new device will be presented to the public during the Munich High End Show, May 3rd – 6th.
Rubicon is the first DAC to integrate a Rubidium atomic clock, which is 100,000 times more stable than a traditional crystal oscillator. Coupled with Antelope’s 64-bit Acoustically Focused Clocking technology, the Rubidium achieves a breakthrough in jitter management, improving the sound quality in an unprecedented way. The same technology is implemented in the company’s flagship master clocks used for scoring blockbusters such as Avatar and available at the best recording and mastering studios around the globe.