[jabbr]

I think it just points out the specific frequency offset applied to sync the Rednet with your Grimm. I think its interesting to see the difference in correction being applied to our particular setups.

So maybe - if Grimm is the superior word clock, my LiveClock is off by ~4ppm hahaha. But that assumes that there aren't any D16 variances to consider.

Well every individual crystal is different and the variation in a batch can be quite large. So I assume this 4ppm difference might be only due to individual variation among the crystals; yours needing 26ppm correction, mine needing 30ppm correction to get back onto the right frequency.

Are you using 192 kHz as well, as that was the setting of my Rednet and Grimm.

 

[RKML0007]

Excellent points, mine is set for 44.1. I'll see if it changes when I sync up at 192.

No change. Frequency offset remained at ~26ppm. Rx utilization went up though from 4mbps to 19mbps.

 

[joelha]

I already told you it does, it is called Slave mode.
Read the manual at least once please.

I did read it, didn't understand it, and that's why I asked.
 
Joel

 

[jabbr]

I already told you it does, it is called Slave mode.

Read the manual at least once please.

I did read it, didn't understand it, and that's why I asked.

Joel

Page 10 which discusses Slave Mode

2.AES3 only.Upon selection of slave mode, the CC1 selects the AES3 input. The “aes” dip switch at the rear selects whether the audio data is transmitted (thru) or not (mute). In thru mode, the AES3 output will obviously run at the same multiple as the AES3 input. ...

The bold section says that the sample rate of the output signal of AES3 will be the same as the sample rate of the AES3 input. Meaning it follows the input sample rate and the word clock output is of course also the same rate as that.

 

[joelha]

I preferred the way you worded your answer, jabbr.
 
The related portion of the instruction manual wasn't (and frankly still isn't) clear to me.
 
Thanks,
 
Joel

 

[jabbr]

  I preferred the way you worded your answer, jabbr.
 
The related portion of the instruction manual wasn't (and frankly still isn't) clear to me.
 
Thanks,
 
Joel

You have to take into account how this device works and that it is a device for Pro Audio users and familiarise yourself with some of the Pro Audio uses.
 
It can be a clock in Master mode, i.e. it will generate a word clock based on the manual settings on the front panel.
The CC1 offers two groups of output that can have separate word clock frequencies based on the same base rate, hence a toggle for group 1 and group 2 and the possibility to set a multiplier for each group.
 
It can also generate word clocks based on the signal of the AES input in Slave Mode. It can reclock that signal when the dip switch is in thru mode or use that signal to generate a DARS, and will always generate a BNC word clock.
 
AES input signal can be put through to the AES output (thru mode), but it can also be blocked (mute mode). The purpose of that is that it can take the sample rate from the AES input signal, but not pass an audio signal, but just a "black signal" with the same sample rate (DARS: Digital Audio Reference Signal: check that on wikipedia) on the AES output and also to use it to select the proper rate for the word clock output via the BNC's.
 
It is actually quite simple when you understand the functions of the CC1:
- setting 1. "master mode" with manual settings / "slave mode" follows AES input
- setting 2. "AES thru mode" for reclocking AES input into output / "AES mute mode" for generating a DARS either based on the AES input or on the manual setting (from setting 1)
- BNC word clocks always follows the result from setting 1. above

 

[jelt2359]

While I know the Antelope Audio OCXHD - 768kHz Master Clock is $500 more than the Live Clock, I'm told it has the auto sample rate change feature.

The downside is that it can't be powered by a linear power supply.

http://www.sweetwater.com/store/detail/OCXHD

Thoughts?

Joel

Does it really? That's my main holdup with the LiveClock. (Sampling rate switching)

 

[joelha]

According to Jason Koons at Sweetwater it does.
 
Would I lie to all of you guys? 

 
Joel

 

[joelha]

You have to take into account how this device works and that it is a device for Pro Audio users and familiarise yourself with some of the Pro Audio uses.

It can be a clock in Master mode, i.e. it will generate a word clock based on the manual settings on the front panel.
The CC1 offers two groups of output that can have separate word clock frequencies based on the same base rate, hence a toggle for group 1 and group 2 and the possibility to set a multiplier for each group.

It can also generate word clocks based on the signal of the AES input in Slave Mode. It can reclock that signal when the dip switch is in thru mode or use that signal to generate a DARS, and will always generate a BNC word clock.

AES input signal can be put through to the AES output (thru mode), but it can also be blocked (mute mode). The purpose of that is that it can take the sample rate from the AES input signal, but not pass an audio signal, but just a "black signal" with the same sample rate (DARS: Digital Audio Reference Signal: check that on wikipedia) on the AES output and also to use it to select the proper rate for the word clock output via the BNC's.

It is actually quite simple when you understand the functions of the CC1:
- setting 1. "master mode" with manual settings / "slave mode" follows AES input
- setting 2. "AES thru mode" for reclocking AES input into output / "AES mute mode" for generating a DARS either based on the AES input or on the manual setting (from setting 1)
- BNC word clocks always follows the result from setting 1. above

Thanks for the detailed reply, jabbr.

I appreciate it.

Joel

 

[jelt2359]

According to Jason Koons at Sweetwater it does.

Would I lie to all of you guys? 

Joel

Will it be in slave or master mode for this? Awesome!!

 

[joelha]

Will it be in slave or master mode for this? Awesome!!

You're a cruel man, jelt2359

Joel

 

[Tand2016]

I just connected a Synergistic Research Copper/Tungsten AC cable to my 16R. The "big" bass got tighter and much better. The music flows with the crispnes and attack which from start was better than my USB chain. Also have an nice older gen Nordost AC cable on my Mutec which also gave a sonic lift!
 
The fun thing with the 16R is that i can have 2 x AC cables at the same time, this gives an excellent way to test AC cables as there is no need to turn the 16R off.
 
Tommy

 

[alubis]

Just got the rednet D16AES, my first impression is this is better than my Melco N1A.

 

[rb2013]

  I just connected a Synergistic Research Copper/Tungsten AC cable to my 16R. The "big" bass got tighter and much better. The music flows with the crispnes and attack which from start was better than my USB chain. Also have an nice older gen Nordost AC cable on my Mutec which also gave a sonic lift!
 
The fun thing with the 16R is that i can have 2 x AC cables at the same time, this gives an excellent way to test AC cables as there is no need to turn the 16R off.
 
Tommy

Yes a totl power cable will make a significant difference.  I have some of the really amazing Cerious Graphene Extreme Red cords in my system.
 
Here is how I rank their use by digital device:
 
1st DAC, 2nd Mutec SPDIF reclocker, 3rd Antelope OCX, 4th the REDNET 3.
 
So for me the Rednet was the least improved.  As an alternative I use a generic silver power cord with Niobium plugs.
 
Also attention to AC line conditioning is critical to getting the best out of your digitial source chain.
 
My current AC power isolation and filtering:
SR Tesla AC>Audience Response aR1p>Three separate Art Audio PB4X4Pro (one each for PC, DDC & Clocks, DAC)>Cerious Graphene Extreme power cords

 

[Soundsgoodtome]

Does the 16r have an smps as well? I thought the power cables didn't make much audible difference on the r3, if any.