Professional Documents
Culture Documents
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FireWire
4-Pin ilink
FireWire 400
6-Pin A.lpha Connector
USB Speed Rates
USB 1 .0= 1.5 Mbps
USB 1.1 = 12 Mbps
USB 2.0= 480 Mbps (Hi Speed)
USB 3.0= 5 200 Mbps (Super Speed)
FireWire Speed Rates
S 1 00= 1 00 Mbps
FireWire 800
9-Pin Beta Connector
5200= 200 Mbps
5400= 400 Mbps
5800= 800 Mbps
S 1600= 1600 Mbps
53200=3200 Mbps
JFVignal/ SAE Brussels-AEDS 908/2010 86
0
Source: http://www.cablewholesale.com/i nd ex. php ?section= Support&bo dy= U sb3
JFVignal/ SAE Brussels-AEDS 908/2010 87
0
JFVignal/ SAE Brussels-AEDS 908/2010 88
0
0 The Market Boom For USB DACs
Currently the most common way to bring the audio data out of the
computer to a high-performance audio system is via the USB port.
ln recent years, there has been an explosion of external USB DIA
converters.
Retail priees cover the who le range from 200 Eur to 13 000 Eur.
The advantage of this approach is that any music player software may be
used-iTunes,J. River, Windows Media Player, Foobar, WinAmp, Media
Monkey-so the customer is able to select the application that fits his
needs the best.
What has enabled this proliferation of USB-based DIA converters is a
series of chips from Burr-Brown (Texas Instruments) cal led the PCM270x
senes.
These chips are inexpensive (only a few dollars), very easy to use, and
require no programming skills.
They are similar enough to conventional DIA chips that any digital audio
engineer can easily design a product around them.
Source: http://www.ayre.com/PDF/Ayre_ USB_ DAC_ White_ Paper.pdf
JFVignal/ SAE Brussels-AEDS 908/ 2010 89
But ... the Burr-Brown PCM270x chips have high levels of jitter.
A fixed-frequency master audio dock is not employed.lnstead a variable-
o frequency master audio dock is generated based on the timing of the
incoming audio data.
The computer sends packets of audio data at one millisecond intervals
across the USB connection.
This system, ca lied "adaptive" USB mode, creates several opportunities
where jitter will be added to the DIA converter's master dock:
0 Any variable frequency dock will intrinsically have more jitter than an
equivalent fixed-frequency clock.
0 ln the "adaptive" USB mode, the dock in the DIA converter must
"adapt" to match the rate that the computer sends out audio packets.
0 The computer cannot send audio packets at a perfectly fixed rate. The
computer's internai clock is not designed to have low jitter (cost
factor). Secondly, the inside of a computer is fil led with RF
interference, impacting the dock stability.
0 The Burr-Brown USB-enabled DIA chips update (change) the
frequency of the master audio clock each ti me a packet of audio data
is received.This happens once a millisecond so there will be a strong
jitter component at 1 kHz, right in the middle of the audio band.
0 Finally, the PCM270x chips are limited to 16/48.
JFVignal 1 SAE Brussels-AEDS 9081 2010 90
0
0 Background Of Asynchronous USB
At the same time thatTexas Instruments was developing the PCM270x
USB-enabled DIA converter chips, they also developed an obscure part
cal led the TAS 1 020B Stereo USB Audio Interface chi p.
This chip integrates multiple functions into one part-a USB
transceiver, a microprocessor, a memory controller with a FIFO buffer,
and an 12S interface to allow easy connection to A/D and DIA
converter chips.
Obviously this chip is very powerful and offers great potential to the
digital audio designer.
The difficulty is that this chip is a blank slate-completely unusable
unless programmed.
A third-party company, CEntrance, has been certified by Texas
Instruments to develop software for the TAS 1 020B.
Their code allows high-resolution audio data (up to 96/24) to be
transmitted across the USB port but doesn't address the jitter issue.
A new code was developed by Wavelength Audio, using asynchronous
USB data transmission.
JFVignal/ SAE Brussels-AEDS 908/2010 91
0
0 USB DACs: Adaptive Mode
Currently almost ali USB DACs use Adaptive Mode USB Audio.
Even the latest native 24/96 USB DACs using CEntrance code (like the
Benchmark DAC 1 HDR) useAdaptive USB Mode.
ln Adaptive mode the computer controls the audio transfer rate, and the
USB deviee has to follow along updating the Master Clock (MCLK) every
one millisecond.
The USB bus runs at 12MHz, which is unrelated to the audio sample rate of
any digital audio format (i.e. 44.1 K requires a MCLK = 11.2896MHz).
Therefore Adaptive Mode USB DACs must derive the critical master audio
dock by use of a complex Frequency Synthesizer.
Since the computer is handling many tasks at once, the timing of the USB
audio transfers has variations.
This leads to jitter in the derived dock.
(Adaptive USB description courtesy ofWavelength Audio)
JFVignal/ SAE Brussels-AEDS 908/2010 92
0 USB DACs: Adaptive Mode
TAS1020B
AUDIO USB CONTROLL.ER
AOAPTIVE USB AUDIO
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Source: http://www.usbdacs.com/Concept/Concept.html
JFYignal/ SAE Brussels-AEDS 908/2010 93
0
D USB DACs: Asynchronous Mode
Asynchronous Mode USB enables the USB DAC to control the
computer.
Asynchronous Mode works by using an ultra law jitter master dock
in the DAC that contrais the audio transfer rate from the computer.
According to Wavelength Audio, "Jitter is reduced by a factor of
greater than 100 times."
This is accomplished using the standard USB drivers (Windows or
Mac OSX) for easy plug-and-play installation.
Current DACs using similar Asynchronous implementations are the
Ayre QB-9 (code licensed from Wavelength Audio) and the USB
products from dCS.
. . ~ .
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JFVignal/ SAE Brussels-AEDS 908/ 2010 94
0 USB DACs: Asynchronous Mode
Low JJTTER
TAS1020B
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Source: httpJ/www.usbdacs.com/Concept/Concept.html
JFVignal/ SAE Brussels-AEDS 908/ 2010 95
0
0 Summary
Asynchronous USB essentially turns the computer into a slave deviee as
opposed to adaptive USB which does the opposite.
Th us, an asynchronous USB DAC has total control over the timing of the
audio.
One very important feature of asynchronous USB mode is bidirectional
communication between the computer and the DAC.
The computer sends audio and the DAC sends commands or
instructions for the computer to follow.
For example the computer's dock becomes less accurate over a given
period of ti me and can send too much data too quickly and fi li up the
buffer.
Asynchronous DACs will instruct the computer to slow down, thus
avoiding any negative effects of a full, or empty, buffer which can manifest
itself into audible dropouts and pops or clicks.
Plus ali of this is done without additional deviee drivers or software
installation.
JFVignal/ SAE Brussels-AEDS 908/ 2010 96
0
JFVignal/ SAE Brussels-AEDS 908/ 2010 97
0 Ethernet 1 LAN Digital Interface
The protocol of this network interface include the flow-control and retry
o mechanisms that enable the optimum audio streaming scenario, as weil as
having the advantage of avoiding altogether the audio software stack of the
computer OS.
Using networked deviees, either wired or wireless, can be no different than
sending data to a printer.
The only con cern is getting the data to the deviee intact. The re is no timing
information sent or implied.
The data is not contiguously streamed at real-time speed as with USB,
FireWire or S/PDI F interfaces.
lt is packetized and sent periodically in high-speed bursts over the network,
whenever the network has an "opening".
These packets are then collected in a buffer memory at the destination
deviee where they can be clocked out to the D/A using a locallow-jitter
master dock.
The fact that networked data flow incorporates flow-control and retry, and
bypasses the computer audio stack makes it the superior method.
As for bandwidth, networked interfaces can not only support the highest
audio sam pie-rates, such as 24/192, but multiple channels as weil, allowing for
multiple channel playback and even movie surround-sound.
JFVignal/ SAE Brussels-AEDS 908/ 2010 98
0
0 Ethe rn et DAC Advantages
An Ethernet DIA converter allows to avoid the S/PDIF connection jitter
1ssues.
An Ethernet DIA converter can have a fixed-frequency master audio dock
inside of it, sending commands to the computer to request more audio data
to fill the D/A converter's buffer.
Technically, this is an excellent approach and is able to provide true low-jitter
performance.
A similar approach can be taken with FireWire, although most computers do
not provide the hardware support for this connection.
The computer cannot send audio packets at a perfectly fixed rate.
Firstly, the computer's internai dock is not designed to have low jitter.
ln a market segment where costs are literally shaved to the fractions of a cent,
it would add too much the cost of a computer to use a high-performance,
low-j itter dock.
Secondly, the inside of a computer is fil led with RF interference, making it
impossible for even the best of docks to maintain their spectral purity.
ln the following si ides, we'll review the step-by-step implementation of an
Ethernet DAC, based on Linn's Klimax DS.
JFYignal/ SAE Brussels-AEDS 908/2010 99
0
0 Ethernet DAC Disadvantages
The player that interfaces to the network is currently a custom player, such
as Linn, Sooloos, Squeezecenter or Sonos.
These custom-made solutions are not inexpensive.
They require firmware/driver updates
Hopefully, in the future Microsoft and/or Apple will create more generic
player software to drive a networked interface so that more player options
will be available.
JFVignal/ SAE Brussels-AEDS 908/ 2010 100
0
D Typical Flow Chart of Ethernet DAC Implementation
e
e
Pronto
Control
Klimax Room
Klimax DS
i-Touch
/ PDA
Control
Kitchen
Sekrit. DS-1
i
e
e
OS Multi-Room
r - - - - - - - - - - - - - - - - - - - - - - ~
1 Daia Storage & Network Infrastructure ;
1
1
Router
NAS
WAP
SWitch
Source: http://www.linn.eo.uk/multi-room ds
PC
Control
Sekrit DS-1
Bedroom
-
. ! ~ ,
- )
Ke
Etheroet
Analogue
Audio
D1gital
Audio
--HDMI--
- RS232--
~ WoFi
JFVignal/ SAE Brussels-AEDS 908/ 2010 101
0
0 Step 1 : Connect PC to Router
1 LAPTOP 1-1 ---11 ROUTER 1
Connect the two deviees directly using a standard Ethernet cable
(RJ-45, Cat S)(crossover is not necessary).
Configure the PC's network adaptor (NIC) to obtain IP address
automatically by DHCP.
Disable any wireless NI Cs which are present on the PC.
Configure the router to have an IP address of 192.168.72.1, and enable
it's DHCP server to issue IP addresses in the range 192.168.72.1 00 ... 200.
Source: http://docs.linn.co.uklwiki/index.php/DS Network Setup
JFVignal/ SAE Brussels-AEDS 908/ 2010 102
o D Step 2: Connect PC, Router & NAS via Switch
LA PT OP NAS ROUTER
1 1
1 1
SWITCH
Connect the Laptop, Router, and NAS to the Ethernet switch.
Configure the NAS to obtain it's IP address automatically via DHCP
and disable its DHCP server.
JFVignal/ SAE Brussels-AEDS 908/ 20 1 0 103
o D Step 3: Add DACTo Network
LAPTOP NAS ROUTER
1 1
1 1
os
,___
SWITCH
Note: DS= DAC
Connect the DS product to the Ethernet switch as shown in the diagram.
Switch on or power cycle the DS.
When powered up, the DS dis play, or LED on its front panel, should flash
for a few seconds then remain on continuously.
If it continues to flash, this indicates that it has failed to obtain an IP address
(via DHCP). If this happens, check ali network connections and the router
configuration.
JFVignal/ SAE Brussels-AEDS 908/2010 104
o D Step 4: Add DS To Network
LAPTOP NAS ROUTER
1 1
1 1
os
HOME
Vt
J\., HOME
SWITCH i-- 1-
PLUG
N
v PLUG Note: DS= DAC
(If Homeplugs are not being used this step may be skipped).
lnsert the HomePiugs into electrical mains sockets as shawn in the
diagram.
Disconnect the DS from the switch and reconnect it to one of the
HomePiugs.
Connect the other HomePiug to the switch.
Power cycle the DS and verify that it gets assigned an IP address via
DHCP from the router.
If the DS does not get an IP address check ali network connections and
troubleshoot the HomePiugs if necessary.
JFYignal/ SAE Brussels-AEDS 908/ 2010 105
0
0 Step 5: Add Wireless Access Point (WAP)
LAPTOP ) ) ~
(V"RELESS) 1)
Note: DS= DAC
WAP os
L,
SWITCH
HOME
~
PLUG
NAS ROUTER
1
1
~
HOME
SWITCH
~ PLUG
~
(If wireless control is not being used this step may be skipped)
Configure the WAP to obtain IP address automatically via DHCP.
Connect the DS, HomePiug and WAP together using a switch as indicated in
the d iagram.
Power cycle the DS and verify that it gets assigned an 1 P address via DHCP
from the router.
If the DS does not get an IP address check the network connections
between the DS and the switch and between the switch and the HomePiug.
Power cycle the WAP.
Disconnect the Ethernet cable from the laptop. Enable wireless connectivity
on the laptop and ens ure it connects to the correct WAP.
Run LinnGui and test that the DS is controllable wirelessly by playing a track
from the NAS on the DS.
JFVignal/ SAE Brussels-AEDS 908/2010 106
o D Step 6: Add Wireless Control Point
PDA
(WlRELESS)
c Note: DS= DA
WAP os
~
SWITCH
--
LAPTOP
1
HOME
~
HOME
PLUG N--I/ PLUG
NAS ROUTER
1
1 1
1-- SWITCH
If wireless control is not being used this step may be skipped.
Disable wireless connectivity on the laptop and reconnect it to
the switch using the Ethernet cable.
Switch on the PDA and open the KinskyPDA application.
Test that it is possible to play a track from the NAS on the DS
using the PDA.
JFVignal/ SAE Brussels-AEDS 908/2010 107
0
D Step 7: Add Additional Audio Deviees
PDA
DS DS2 PROXY LAPTOP NAS ROUTER
(WI ELESSJ
....,_
'-.../
1
~
1 1
0 1 1
WAP SWITCH
HOME [A J'-._ HOME
SWITCH
Note:
f- t--
PLUG
f"r
v PLUG
DS= DAC
If additional Linn audio products are not being used this step may be
skipped.
Connect other, network enabled, Linn deviees to the switch as shown in
the d iagram.
Open LinnConfig and check the room name of each deviee.
Give ali deviees the same room name by using the "Advanced Configure"
ta b.
If using an RS232 control led preamp see Adding a proxy preamp.
J F Vignal 1 SAE Brussels-AEDS 908 1 20 1 0 1 08
0
0 Step 8: Add Internet Router
POA
DS1 DS2
.- ...
PROXY LA PT OP NAS ROUTER
(WIRELESS)
'--'
1
~
1 1
0 1 1
WAP SWITCH
HOME
/l J'.
HOME
SWITCH
INTERNET
1---
PLUG
.'1
1/ PLUG
,_..
ROUTER
Connect the "Internet" (WAN) port of the router to an internet router
which is already connected to the internet. Reboot the WAN router.
Open a browser on the laptop and check that it is possible to access internet.
Open CD ripping application (example EAC) and test that the application can
retrieve CD metadata from the internet.
If there are any other computers or deviees which need access to the DS
subnet, these should be connected to one of the switches or the WAN router,
and not connected d irectly to the internet router.
If there are computers or deviees which need access to the internet, but
denied access to the DS network, these should be connected directly to the
i nte rn et router.
For a more detailed description of this see Configuring The Router: Network
Positioning
JF Vignal/ SAE Brussel s-AEDS 908/ 2010 109
0
0 The Digital Home ConceptToday
HomePiug Applications
Sroadband TV ~ P T V )
Broadband Sbarlng
Powerline Ethernet
Internet \
Internet
Source: http://wificentral.co.uklpub/files/images/wired/1259250438_ homeplug-av-apps.gif
Wlteklss Extender
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JFVignal/ SAE Brussels-AEDS 908/2010 Il 0
0
JFVignal/ SAE Brussels-AEDS 908/ 2010 Ill
0
I DSD
.._______ i CHrect Stream Digital
L __
Trademark name used by Sony and Philips for the introduction of the
Super Audio CD (SACD) in 2000.
The signal is stored as Delta-Sigma modulated digital audio, a sequence of
single bit values at a frequency sampling rate of 64 times the CD Audio
sampling rates of 44.1 kHz, for a rate of 2.8224 MHz ( 1 bit times 64 times
44.1 kHz).
On the DVD dise, 3 audio layers can be available:
SACD Stereo, SACD 5.1, and standard CD Stereo.
Noise shaping occurs by use of the 64x oversampled signal to reduce
noise/distortion caused by the inaccuracy of quantization of the audio
signal to a single bit.
Therefore it is a topic of discussion whether it is possible to eliminate
distortion in 1-bit Sigma-Delta conversion.
Source: http://en.wikipedia.org/wiki/Direct_Stream_ Digital
JFYignal/ SAE Brussels-AEDS 908/ 2010 1 12
PCM
0
Source: http://en.wikipedia.org/wiki/Direct_Stream_Digital
JFVignal/ SAE Brussels-AEDS 908/ 2010 113
0
D Delta-Sigma DACs
lnherently excellent linearity.
High resolution possible (24-Bit).
Oversampling relaxes analog antialiasing filter requirements.
Ideal for CMOS processes, no trimming.
No SHA required (sample & hold amplifier).
Added functionality: On-chip PGAs, ana log filters, autocalibration.
On-Chip programmable digital filters (AD7725: Lowpass, Highpass,
Bandpass, Bandstop).
Upper sampling rate currently limits applications to measurement,
voiceband and audio, except for bandpass Sigma-DeltaADCs.
Analog multiplexer switching speed limited by internai filter settling time.
JFVignal/ SAE Brussels-AEDS 908/ 2010 114
0 DSD-SACD Specifications
0
SACD audio is stored in a format called Direct Stream Digital (DSD), which
differs from the conventional PCM used by the compact dise or conventional
computer audio systems.
DSD is 1-bit, has a sampling rate of 2.8224 MHz, and makes use of noise
shaping quantization techniques in order to push 1-bit quantization noise up to
inaudible ultrasonic frequencies.
This gives the format a grea ter dynam ic range and wider frequency response
than the CD.
The SACD format is capable of delivering a dynamic range of 120 dB from 20
Hz to 20 kHz and an extended frequency response up to 1 00 kHz, although
most currently available players list an upper limit of 80-90 kHz.
The process of creating a DSD signal is conceptually similar to taking a 1-bit
delta-sigma analog-to-digital (A/D) converter and removing the decimator,
which converts the 1-bit bitstream into multibit PCM.
lnstead, the 1-bit signal is recorded directly and in theory only requires a
lowpass filter to reconstruct the original analog waveform.
ln reality it is a little more complex, and the analogy is incomplete in that 1-bit
sigma-delta converters are these days rather unusual, one reason being that a
1-bit signal cannot be dithered properly: most modern sigma-delta converters
are multibit.
JFYignal/ SAE Brussels-AEDS 908/ 2010 115
0
Because of the nature of sigma-delta converters, one cannot make a direct
comparison between DSD and PCM.
An approximation is possible, though, and would place DSD in sorne
aspects comparable to a PCM format that has a bit depth of 20 bits and a
sampling frequency of 96 kHz.
PCM sampled at 24 bits provides a (theoretical) additional 24 dB of
dynamic range.
Because it has been extremely difficult to carry out DSP operations (for
example performing EQ, balance, panning and other changes in the digital
domain) in a 1-bit environment, and because of the prevalence of studio
equipment such as Pro Tools, which is solely PCM-based, the vast majority of
SACDs- especially rock and contemporary music which relies on
multitrack techniques- are in fact mixed in PCM (or mixed analog and
recorded on PCM recorders) and then converted to DSD for SACD
mastering.
Note: Need to include DSD vs PCM in future Digitai/Mastering class at SAE.
Source: http://www.d igi tai audio.dkltechnical_papers/axi on/dxd %20 Resol ution%20v 3 .5. pdf
JFVignal/ SAE Brussels-AEDS 908/ 2010 116
0
0 DSD Wide 8-bit
To address sorne of these issues, a new studio format has been developed,
usually referred to as "DSD-wide", which retains standard DSD's high
sample rate but uses an 8-bit, rather than single-bit digital ward length, but
still relies heavily on the noise shaping principle.
lt becomes almost the same as PCM (it's sometimes disparagingly referred
to as "PCM-narrow") but has the added benefit of making DSP operations
in the studio a great deal more practical.
The main difference is that "DSD-wide" still retains 2.8224 MHz (64Fs)
sampling frequency wh ile the highest frequency in which PCM is being
edited is 352.8 kHz (8Fs).
The "DSD-wide" signal is down-converted to regular DSD for SACD
mastering.
As a result of this technique and other developments there are nowa few
digital audio workstations (DAWs) that operate, or can operate, in the
DSD domain, notably Pyram ix and sorne SADiE systems.
JFVignal/ SAE Brussels-AEDS 908/2010 117
High-resolution PCM (Biu-ray Dise) and DSD (SACD) may still technically
o differ at high frequencies.
A reconstruction filter is typically used in PCM decoding systems, much the
same way that bandwidth-limiting filters are normally used in PCM encoding
systems.
Any error or unwanted artifact introduced by such filters will typically affect
the end-result.
If the filter designer chooses a wide, flat passband, then the length of the
impulse response will inevitably increase {Time-domain analysis of filters).
A claimed advantage of DSD is that product designers commonly choose to
have no filtering, or modest filtering.
lnstead DSD leads to constant high levels of noise at these frequencies.
DSD's dynamic range decreases quickly at frequencies over 20kHz due to
the use of strong noise shaping techniques which push the noise out of the
audio band resulting in a rising noise floor just above 20 kHz.
PCM's dynamic range, on the other hand, is the same at ali frequencies.
(Sorne high-end SACD players employ an optional low-pass filter set at 30
kHz for compatibility and safety reasons, suitable for situations where
amplifiers or loudspeakers cannot deliver an undistorted output if noise
above 30 kHz is present in the signal.)
JFVignal/ SAE Brussels-AEDS 908/ 2010 118
0 DXD
Another format for DSD editing is DXD (Digital eXtreme Definition), a
"PCM-Iike" signal with 24-bit resolution sampled at 352.8 kHz.
Digital eXtreme Definition (DXD) is an audio encoding scheme for
professional use that was developed for editing high-resolution recordings
because DSD, the audio standard used on Super Audio CD is not ideally
suited for editing.
DXD is a PCM-Iike signal with 24-bit resolution (256 times the depth of a
Red Book CD at 16-bit, since it is exponential) sam pied at 352.8 kHz-
eight times 44.1 kHz, the sampling frequency of Red Book CD.
The data rate is 8.4672 Mbit/s per channel- three times that of DSD64.
DXD was initially developed for Merging's Pyramix DSD workstation.
JFVignal/ SAE Brussels-AEDS 908/ 2010 119
So what is DXD? SACD is based on a digital processing called DSD, Direct
o Stream Digital (DSD64).
From the Red Book specification (44.1 kHz), the data stream will go
through a 1-bit/64 times over-sampling process to achieve an audio date
rate of 2.8224 Mbitls.
DSD signais further require a noise shaping process to sustain the dynamic
range of 120 dB within the primary bandwidth of 20 Hz - 20 kHz but that
causes the noise spectrum to increase above 22 kHz.
One obvious solution is the process known as DSD 128, which increases
resolution to wider bandwidth by doubling the over-sampling rate to l-
bit1128 times.
The down side is that the data size would also be doubled and would
require large media storage, rendering it impractical for commercial
applications.
Digital eXtreme Definition is a professional audio format that brings
"analogue" qualities in 32 bit floating point at 352.8 kHz.
DXD preserves 1 1 .2896 Mbitls (4 times the data of DSD).
This leaves headroom for editing and balancing before quantizing to DSD.
The dise stilllooks like a CD and is totally compatible with conventional
CD players and computers.
JFVignal/ SAE Brussels-AEDS 908/ 2010 120
0
0 High-Res Downloads From Music Label 2L
Source: http://www.21.no/hires/index.html
For the same music track (duration 09:24), the hi-res formats & corresponding
file sizes can be compared:
Stereo Flac, 24/96= 171 MB
Stereo Flac, 24/ 192= 338 MB
Stereo WAV, 24/96= 304 MB
Stereo DSD 64, 2.8224 Mbits/s= 268 MB
Stereo WAV DXD, 24/352.8= 1 .0 GB
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J F Vignal/ SAE Brussel s-AEDS 908 1 20 1 0 121
0
JFVignal/ SAE Brussels-AEDS 908/2010 122
)
0 Selection Of Stereo DACs & Solutions for Computer Audio
0 1.
2.
3.
4.
5.
6.
7.
8.
USB Adaptive
USB Asynchronous
FireWire
Wi red Ethernet
USB to S/pdif adapters
AES/EBU Soundcards
lntegrated Music Servers
Outboard Master Clocks
With the market boom on Computer Audio, the current offer for USB DACs
has quickly multiplied, with products now covering ali priee points.
USB DACs can be found from 200 Eur to 1 3 000 Eur.
The purpose of this section is to highlight the most notable products
currently available for Computer Audio & music servers, including FireWire,
Ethe rn et, USB adapters & AES-EBU PCI soundcards for reference.
The specs listed for each mode! focus only on digital inputs resolution &
sampling frequency. More details (SNR, THD, ... ) can be found on each
manufacturer's website.As always, specs & retail priees are subject to change.
And new DACs are being launched in the market every quarter!
JFVignal/ SAE Brussels-AEDS 908/ 2010 123
1. USB adaptive DACs > Aqvox USB2 DAC mk2
0
0 4 Digital Audio Inputs
lxAES/EBU, lx S/Pdif, lxToslink, lx USB
0 1 Digital output
S/Pdif, Toslink,AES/EBU-Input are routed to the USB-output (up to 48kHz/16bit)
0 Sampling Rates
AES/EBU & S/Pdif inputs: 16kHz to 192kHz at 16bit 1 24bit
Toslink input: 16 kHz to 96 kHz at 16bit/24bit (up to 176.4--192kHz)
USB- INput and OUTput: 16kHz to 48kHz, at 16bit
(with optional USB 2.0 Upgrade up to 192kHz/24bit, inclusive ASIO)
http://www.aqvox.de/
Retail 1 1 00 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 124
0
1. USB adaptive DACs> Bryston BDA-1
0 8 Digital Audio Inputs:
lx USB vl.l
-.. ~ ~ ~ ~
~ ~ 1
-.o ~ : c
4x S/Pdif (co-axial wire)
2x optical (TOSLINK)
lxAES/EBU
Sample rates: 32kHz -192kHz
16-24Bit PCM, 16Bit 32K-48K USB
http://www.bryston.com/
Retail 2 300 Eur
.. .. .. "' .. l
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0
1. USB adaptive DACs > Benchmark DAC 1-HDR
0 5 DigitaiAudio Inputs
3x S/Pdif= 28 to 195 kHz
1 x Optical= 28 to 195 kHz
lxUSB=44.1to96kHz
AdvancedUSB TM computer audio interface for native 24-bit 1 96-kHz
USB audio (no driver needed)
http://www.benchmarkmedia.com/
Retail 1 900 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 126
1. USB adaptive DACs > Lavry DA-I 1
0
0 4 Digital Audio Inputs
Sample rates between 30kHz and 200kHz, 24-bit (USB 96 KHz)
lx XLR
1 x USB v2.0 (24/96)
1 x S/Pdif (Coaxial)
1 x Optical (Toslink)
http ://lavryengi nee ri ng.com/
Retail 1 500 Eur
JFYignal/ SAE Brussels-AEDS 908/ 20 10 127
1. USB adaptive DACs > Grace Design-M902
0
0 4 Digital Audio Inputs
lxAES3
lx S/PDIF
lx TOSLINK
1 x USB (USB input supports 16 bit/44.1 and 48k only)
24bit/ 192kHz digital stereo inputs except USB
http://www.gracedesign.com/
Retai 1 1 700 Eur
J F Vignal 1 SAE Brussel s-AEDS 908 1 20 1 0 1 28
1. USB Adaptive DACs > Antelope Zodiac+
0 7 Digital Audio Inputs:
lxAES/EBU
2x S/PDIF
2x Optical TOSLINK
1 x USB on mini B type connector
(Custom USB chip streams audio up to 192kHz)
lxWord Clock Input on BNC
3x Digital Outputs on AES/EBU and S/PDIF
http://www.antelopeaud io.com/en/index.htm 1
Retail 1 900 Eur
JFYignal/ SAE Brussels-AEDS 908/ 2010 129
0
1. USB adaptive DACs > Naim DAC
0 8 Digital Audio Inputs:
2x coaxial BNC
2x coaxial phono,
4x optical toslink
2x USB
Audio files supported: USB =WAV (LPCM up to 768kHz /32bit)
0 Sample Rates
USB 32kHz to 768kHz, 24bit
S/PDI F 32kHz to 192kHz, 24 bit
iPod, iPhone 48kHz max
http://www.naim-aud io.com/
Retai 1 2 600 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 130
1. USB adaptive DACs >Audio Research DAC 7
0 5 Digital Audio Inputs:
USB: Spec 1 .0 to 2.0, 16 Bit, 32kHz to 48kHz, MAC or PC.
RCA: 75 ohm S/Pdif, 16/32 to 24/192.
BNC: 75 ohm S/Pdif, 16/32 to 24/192.
XLR: 1 1 0 ohm AES/EBU, 16/32 to 24/192.
OPT: 660 NM Toslink fi ber, 16/32 to 24/192.
http://www.audioresearch.com/
Retail 3 600 Eur
JFVignal/ SAE Brussels-AEDS 908 1 2010 131
1. USB adaptive DACs > MSB Technology-Piatinum DAC IV
0 5 DigitaiAudio Inputs
3x S/PDI F (Optical, Coax, Balanced)
lx S/PDIF (BNC) orWord Sync
1 x MSB Network with dock link
1 x Optionallnput slot (USB, limited to 96kHz)
0 Upsampling
44.1, 88.2 and 176.4 to 352.8 kHz at a resolution of 32 bits
48, 96 and 192 to 384 kHz at a resolution of 32 bits
http://www.msbtech.com
Retail 14 000 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 132
0
2. USB Asynchronous DACs > Ayre Acoustics QB-9
4'-1
0 Digital Audio Input:
1 x USB, 44.1 kHz to 96 kHz (up to 24 bits)
http://www.ayre.com/
Retail 2 400 Eur
( SC/ 60 Hen.z
20 W Mi1'11.
tH! VS!
-
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_ ____..,
JFVignal/ SAE Brussels-AEDS 908/2010 133
2. USB Asynchronous DACs > Wavelength Cosecant
0
0 Digital Audio Input:
1 x USB data input for use with Mac or PCs
Supported input data formats: 16- or 24-bit word lengths
Sample rates: 44.1, 48, 88.2, or 96kHz
Ana log output jacks: 1 pair RCA
http://www.usbdacs.com/
Retail 2 800 Eur
J F Vignal/ SAE Brussels-AEDS 908 1 201 0 1 34
0
2. USB Asynchronous DACs > dCS Paganini
0 4 Digital Inputs
1 x USB2.0 interface on a B-type connector. Ope rates in asynchronous mode.
1 x AES3 on a 3-pin female XLR connector.
2x S/Pd if on 2x RCA Phono connectors.
Ali digital inputs will accept PCM data at up to 24 bit PCM at 32 to 96kS/s.
0 6 Digital Outputs
IEEE 1394 interface on 2x 6-way connectors.ln DSD mode, the interface
outputs dCS-encrypted DSD ( 1 bit data at 2.822MS/s).
2x AES3 on 3-pin fe male XLR connectors. Each outputs 24 bit PCM at 32 to
96kS/s, or as a Dual AES pair at 88.2, 96, 176.4 or 192kS/s.
2x S/Pdif on RCA Phono connectors. Each outputs 24 bit PCM at 32 to 96kS/s.
http://www.dcsltd.co.ukl
Retail 14 000 Eur
JFVignal/ SAE Brussels-AEDS 908/ 2010 135
0
3. FireWire DACs >Apogee Mini-DAC
0 G E E E L E C T R 0 N 1 C S Menea.c:'
0 5 Digital Audio Inputs
2 x AES-EBU on 9 pin D-Type (breakout cable to 2 fe male XLR-3 required)
Handling sample rates: 44.1 k-192k single-mode and 88.2 k-192k dual-mode.
1 x S/PDIF optical on TOS-LINK 44.1/48k
1 x S/PDI F coaxial on RCA 44/l-192k
1 x FireWire 400 (OSX and Windows XP only)
ADAT 44/1-48k
ADAT/SMUX Il for 88/2/96k
ADAT/SMUX IV for 176.4/192k
http://www.apogeed igital.com/
Retail 900 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 136
0
3. FireWire DACs >Weiss DAC-2
--... . . . . - - - ~ - ..
w ~
DAC2
ON FlkfW!lE AiS/BU S/I'Dif
0
'80 ...
0 0 D .... 1
"
0 4 Digital Audio Inputs
2x Firewire 400 connectors (daisy-chaining)
lxAES/EBU
lx S/PDIF
1 x Toslink (optical)
Sampling frequencies= 44.1 to 192 kHz, 24-bit
An internai jumper allows to set the XLRIRCA inputs to the dual wire
AES/EBU scheme in the case of 176.4 or 192kHz sampling rates.
http://www.weiss.ch/
Retail 2 500 Eur
JFVignal/ SAE Brussels-AEDS 908/ 2010 137
o 3. FireWire DACs > Mytek-Stereo 1 92 DSD
0 6 Digital Audio Inputs
lxAES/EBU
1 x S/Pdif
lxToslink Optical
lx USB
1 x FireWire
lx DSD
Resolution & Sampling Frequencies: 24-bit, 32 -192 kHz
http://www.mytekd igital.com/
Retail 1 500 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 138
0
4. Ethernet DACs > Linn Klimax DS
0 Digital stream player: Ethernet
Supported file types FLAC,WAV, MP3,AIFF
Audio sample rates 7.35 KHz to 192 KHz
Word depth 16 - 24 bits
http://www.linn.eo.uk/
Retail 1 5 000 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 139
0
S. USB to S/Pdif Adapters > M2Tech-HiFace
Digital Input: 1 x USB A type male
Output: 1 x RCA or 1 x BNC
1/0 Standard
1 np ut USB 2.0 Format
Output S/PDIF Stereo Digital Audio Format
Sampling Frequency= 44.1 kHz to 192kHz
Resolution= 16 up to 24-bit
Custom Driver (Microsoft, OSX and ASIO native drivers= 96kHz max)
http://www.m2tech.biz/
Retail ISO Eur (RCA) 180 Eur (BNC)
JFVignal/ SAE Brussels-AEDS 908 1 2010 140
o S. USB To RCA Out > HRT-Music Stream er Il+
0 Digital Audio Input
1 x USB type 1.1 or above
Data Rate up to 96 kS/s
Bit Depth up to 24 bit
http://www.highresolutiontechnologies.com/
Retail 250 Eur
JFVignal/ SAE Brussels-AEDS 908/ 2010 141
o S. USB to S/Pdif Adapters > Bel Canto-USB Link 24/96
Converts USB computer-sourced files to S/Pdif output
Compatible with native drivers on Mac and Windows
Accepts high-res audio files with data rates up to 24 bits and 96KHz
http://www.belcantodesign.com
Retail 400 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 142
0
S. USB to S/Pdif Adapters > SonicWeld-Diverter 24/96
Passes up to 24/96 data via USB input
Digital output BNC 750 + RCA adapter plug
No special drivers or software needed
http://www.cryo-parts.com/index.htm 1
Retail 1 1 00 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 143
0
6.AES/EBU PCI-Soundcards > LynxAES-16
Sixteen-channel AES/EBU Digital 1/0
192 kHz 1 24-bit Single-wire and Dual-wire Modes
Synchrolock J itter Attenuation
Word Clock and Multi-card Synchronization
Powerful Mixing and Routing Engine
Low-latency Drivers for Windows and Macintosh
Cab ling for Direct Digital Interface Yamaha, Apogee, Mackie,
and other Equipment
http://lynxstud io.com/index.asp
Retail 600 Eur
J F Vignal/ SAE Brussels-AEDS 908 1 201 0 144
0
6.AES/EBU PCI-Soundcards > RME Hammerfall HDSP 9632
Balanced stereo analog in- and output, 24-Bit/192kHz, > Il 0 dB SNR
Optional analog expansion boards with 4 balanced in- or outputs
Ali analog 1/0s capable of 192 kHz, constant number of available channels
1 x ADAT digital 1/0, supporting 96 kHz S/MUX operation
1 x S/Pdif digital 1/0, 192 kHz-capable
1 Breakout cable for coaxial S/Pdif
1 Stereo head phone output 1 MIDI 1/0 with 16 channels of hi-speed MIDI
via breakout cable
http://www.rme-audio.de/
Retail 350 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 145
0
7. lntegrated Music Servers > Sooloos
Hard-drive-based networked music system.
Source-One: system control 1er with 24-bitll92kHz converters, two-channel
ana log and digital outputs, 4-port Ethe rn et switch.
Store-Twinstore hard-drive, mirrored storage for contents of +2000 CDs.
Control-One: 17'' LCD touchscreen display/interface and CD drive.
http://www.m er id ian-aud io.com/sooloos/the-experience.php
Retail from 1 1 000 Eur
JFVignal/ SAE Brussels-AEDS 908/ 2010 146
0
7. lntegrated Music Servers > Mclntosh MS-750
Music server with 750GB hard drive, integrated Web interface, CD
player/burner, and Ethernet Web interface for rem ote control and music
streaming.
Supported audio formats: Encode: FLAC, MP3. Decode: PCM, FLAC, MP3,
WMA,ACC.
Digital outputs
lx Optical
2x Coaxial
Sampling frequency: 44.1 kHz
http://www.mcintoshlabs.com/products/default.asp
Retail 8 000 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 147
7. lntegrated Music Servers > Naim-HDX
0
Sample Rates: 44.1 kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz and 192kHz native
Other rates converted to 44.1 kHz
Bit Depths: 16-bit, 24-bit, 32-bit fixed, 32-bit float
USB: x 1 on the Front panel, x4 on the rear panel
1 x Ethernet Rear panel RJ45
Other: PS2 keyboard, PS2 mouse
http:/ /www.naim-aud io.com/index.htm
Retail 6 200 Eur
JFYignal/ SAE Brussels-AEDS 908/ 2010 148
8. Outboard Master Clocks > Antelope Trinity
., .. .1 ...
,.
--------
Rubidium dock input for ultimate performance
3 lndependent & simultaneous audio generators up to 384kHz
USB connection via PC & Mac allowing full remote control, loading/saving
presets and firmware upgrades
http://www.antelopeaud io.com/ en/products .... trinity.htm 1
Retail 2 800 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 149
0
8. Outboard Master Clocks > dCS Scarlatti Master Clock
- -
Accepts word dock or AC coup led signais at 32kHz, 44.1 kHz, 48kHz,
88.2kHz, 96kHz, 1 MHz, SM Hz or 1 OMHz. Lock range is +/-300ppm.
8 independently buffered outputs on 750 BNC connectors
Clock frequencies: 44.1 kHz or 48kHz, calibrated within +/-1 ppm, (typically
+/-0.1 ppm), temperature compensated.
http://www.dcsltd .co.uklpage/aud ioph ile
Retail 7 800 Eur
J F Vignal 1 SAE Brussel s-AE DS 908 1 20 1 0 1 50
8. Outboard Master Clocks > Esoteric G-Orb
0
2
. -
1
1
Rubidium Master Clock Generator
Output frequencies: 44.1 kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz,
1OOkHz (universal frequency)
Term inals: BNC coaxial
http://esoteric.teac.com/master mrclocks/g-Orb/
Retail 14 OOOEur
JFVignal/ SAE Brussels-AEDS 908/2010 151
0
JFVignal/ SAE Brussels-AEDS 908/ 2010 152
0
0 Conclusion
Computer-audio playback: a booming market for persona! music libraries.
The end-user has to choose from many options to set up his system, with a
number of variables to evaluate in terms of hardware & software.
One key issue for audio quality playback is the selection of a DAC & audio
interface, although ali system parameters will matter, induding grade of cable.
FireWire, Ethernet or USB each have the ir own merits & demerits, if the
choice of a PCI-PCie soundcard for AES/EBU or S/Pdif output is not an option.
The connection type in itself is less an issue than its proper implementation &
overall performance is much more system-dependent than conventional audio.
Another factor to consider is the budget available for assembling a system.
Lower budgets will favor USB DACs for cost as weil as plug & play.
Bigger budgets will explore FireWire & more likely Ethernet-based servers.
ln any case, jitter management & dock stability are critical factors.
Outboard master docks from Pro Audio offer an alternative solution.
Another strong market trend is the high-res music downloads (24-96 or
more), which is likely to impact the way music is produced in the studio.
Master tape quality is now available for home use. Happy listening!
JFVignal/ SAE Brussels-AEDS 908/ 2010 153
0 Key Success Factors
0
___ . __ -. ) Obviously with Computer-Audio, many configurations & setups are possible.
And ali the details are important. Below is a checklist for ONE alternative.
0 Computer generation with latest CPU and RAM specs available.
0 External audio interface with FireWire input to AES3 output.
0 AES3 output to stereo DAC digital inputs, then to XLR analog outputs.
0 External CDRIDVDR reader/burner with FireWire connection.
0 Ditto for external hard-disk drives (back-up & playback).
0 Optional outboard master dock reference.
0 Drivers & firmware update.
0 Ripping software: CD-DA Extractor, Max.
0 Ripping format: Flac.
0 Playback software:
./ PC:J River Media Center .
./ Mac: iTunes + Fluke (+Amarra$$$).
0 Windows on Mac (both options above, via VM Ware or similar).
0 Avoid automatic sample rate & depth conversion within the OS or media player.
0 Short audio cables, quality aftermarket cables (discard OE cables).
0 Clean power supply and dedicated power cable for desktop/laptop.
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0
0 Computer Audio Dream 1: Let's Go !
FireWire ~ AES3 XLR
~
Weiss Vesta-FW Weiss DAC-202
ATC SCM-20ASL
Toslink 1 USB W/C BNC
Mac Pro iTunes + Amarra
S/Pdif
HighFace
USB
iPod
-
dCS Paganini DAC-Upsampler-Ciock
.! XLR
Mel ntosh C-1 000 P
XLR
BeyerT-One
Harbeth Monitor 40.1
t ElectroCompaniet Nemo t
iPad 1 NAS 1 Network-Piayer 1
CD/SACD/Biu-ray 1
SAT-Receiver 1 DAB-Tuner 1 USB-Stick
JFVignal/ SAE Brussels-AEDS 908/2010
= - - - - - - - - - - - - - ~
156
0 Computer Audio Dream 2: A Full dCS Scarlatti System
The system is synchronized by a Clock running at 44.1 kHz
The Upsampler takes data from the Transport or the Laptop (with upsampling set to 24/176.4 or DSD)
The DAC takes DSD data from the Transport via 1394, or PCM from the Transport 1 Laptop thru the
Upsampler via 1394 (DSD) or Dual AES (24/176.4)
Select the DAC input first before using the Sync button to select WCLK
Total budget (if you need to know) = 62 000 Eur
JFVignal/ SAE Brussels-AEDS 908/2010 157
0
----........ =---t -----,_,...._ _____ SAE Brussels-AEDS 908/ 2010 158
0
0 Sources & Resources, 1
0 Computer-based Audio
http://www.positive-feedbackcom/lssue41/ca intro.htm
http://www.anandtech.com/show/2677
http://www.positive-feedbackcomllssue22/nugent.htm
http://www.avguide.com/article/music-lover-s-guide-computer-based-music-tas-197
http://stereophile.com/computeraudio/l 008servers/
http://www.thewelltemperedcomputer.com/
http://www.computeraudiophile.com
http://www.weiss-highend.ch/computerplayback!white paper computer playbackpdf
http://www.6moons.com/audioreviews/pcaudio/pcaudio.html
0 Digital Audio Interfaces
http://en.wikipedia.org/wiki/Digital audio
http://tweakheadz.com/audio interfaces l.htm
http://www.tonmeister.ca/main/textbooklnode591.html
0 S/PdifTopologies
http://www.naim-audio.com/download/Naim DAC White Paper Aug 2009.pdf
http://www.tnt-audio.com/cl in ica/ diginterf 1 e. html
0 S/Pdif Oversampling & Reclocking
http://www.dcsltd. co.u ki page/ myths
http://www.lessloss.com/page.html?id=40
http://cplay.sourceforge.net/pmwiki.php?n=CMP.02Upsampling
JFVignal/ SAE Brussels-AEDS 908/2010 159
0 Sources & Resources, 2
0 USB vs FireWire
http://www.avguide.com/article/tas-194-the-state-usb-audio
http://www.nanophon.com/audio/1394 sampling jitter.pdf
http://thewelltemperedcomputer.com/HW/USB DAC.htm
http://www.extremetech.com/article2/0,2845,33848,00.asp
0 USBAdaptive vsAsync
http://www.avguide.com/article/tas-194-the-state-usb-audio
http://www.computeraudiophile.com/content/Asynchronicity-USB-Audio-Primer
http://www.computeraudiophile.com/content/Ayre-Acoustics-QB-9-Asynchronous-USB-DAC-Review
http://www.ayre.com/PDF/Ayre USB DAC White Paper.pdf
0 Ethernet
http://www.avguide.com/buyers-guide/the-absolute-soundhi-fi-guide-disc-players-dacs-music-servers
http://docs.linn.co.uk/wiki/index.php/Products
0 PCM, DSD, Flac
http://www.digitalaudio.dk/technical papers/axion/dxd%20Resolution%20v3.5.pdf
http://www.ps3sacd.com/dsddiscguide.html
http:l/blog.bowers-wilkins.com/lab/sound-quality-lab/the-definitive-guide-to-24-bit-flad
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