I have asked similar questions, and so far come up with some situations where a master clock might be useful.ġ. If you want a reasonably quick but relatively detailed overview - backed up with real world testing of low, mid, and high range converters and clocks and the effects of slaving to an external clock, this Sound-on-Sound article is pretty valuable:ĭoes Your Studio Need A Digital Master Clock? But the slave must deal with jitter induced by HF clock connections between devices, 'recovering' as jitter-free a signal as possible despite in-circuit signal reflection interference. A master clock's job is relatively simple: put out clean, jitter free time code. But, remember, it's the SLAVED clock that has to do the 'heavy lifting' with regard to holding jitter problems in check. With big, complex rigs there may be interconnection or rerouting issues that mandate a standalone clock. That said, the very highest tier of converters (we are not talking Apogee here, which are considered mid-tier for these purposes) have excellent, near-flawless 'clock recovery' (slave) modes, (as you can read in the article linked below). With smaller multi-converter rigs, it's not just reasonable, but perhaps advisable to make the 'best' of your converters the master (meaning that it, at least, will not have increased jitter from slaving). Because of the nature of the extremely high frequency clock signals, a self-clocked converter will almost always have lower jitter.
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