![]() ![]() THIS IS WHAT HAPPENS WITH MOST CLOCKS, THIS IS THE JITTER. You possibly went up too far and had to come back down making it squigly. Most likely, your lines are different lengths and heights from the next. On that piece of paper, draw a square wave that goes 360 degrees and do it FREEHAND as fast as you can. Here's an exercise that will make more sense. Because of the better clocking and more accurate samples, it cleans up the audio path getting rid of the jitter and making the audio more clear, tigheter bass, smoother highs, etc. The clocking is offering better timing and sync of the samples, a more "refined" sample so to speak by providing more precise sample points. When you connect something like a BigBen, in nearly every piece of sub high-end gear will have a sharp improvement. The converter has a job to do, but there are other factors that get in the way such as clocking. While every digital device has a clock, nearly every one of them's clock isn't that great.Ī great master clock doesn't technically make converters sound better directly, but more indirectly. Jitter is already there, unless you have a high-level clock to clean it up. ![]() You can have as many slaves as connectivitily possible-but only ONE MASTER can be made available, or the results of jitter are now audible. So this means that on at least one device, you're now using another clock already whether you realize that or not. The moment you connect two digital devices together, there now has to be a master clock and a slave clock. The simple fact is, every digital device has an internal clock for its timing of digital samples because with digital connectivity, there MUST be a master timing source. ![]() This means you want to have a good converter with a non-jittery clock." "I am convinced the key to getting the best clock is to USE THE CLOCK BUILT IN YOUR CONVERTER. To discuss the topic of clocking first, I RESPECTFULLY COULDN'T DISAGREE MORE to the following statement: ![]()
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