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AES 2019: RME Updates SteadyClock Technology in its Interfaces
Old 8th October 2019
  #1
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Hardware AES 2019: RME Updates SteadyClock Technology in its Interfaces


AES NY: RME Updates SteadyClock Technology in its Interfaces, Brings Self-Jitter within a Femtosecond

SteadyClock FS’s low phase noise oscillator results in an ultra-clear sonic image


New York, NY, October 8, 2019 – RME, [AES NY Booth 413], premier German manufacturer of audio interfaces, has officially rolled out its SteadyClock FS, the latest version of its SteadyClock technology that offers synchronization and jitter suppression in digital audio signals. This ultra-stable femtosecond clock takes self-jitter to an all-time low by improving its second, analog PLL circuit and referencing both Direct Digital Synthesis and PLL to a low-phase noise quartz crystal. The result is a stunningly clear sonic image.

“SteadyClock FS provides users with the lowest jitter they can possible get,” said Derek Badala, Director of Sales, Americas for Synthax — RME’s U.S. distributor. “The outstanding clock performance in our interfaces enable end-users to optimize their recordings and mixes because the soundstage has more depth and clarity.”

Say ‘Goodbye’ to Jitter
SteadyClock was originally developed to gain a stable and clean clock from the heavily jittery MADI data signal. Self-jitter is measured through DA conversion and now reaches levels that are usually only available in master quartz clock mode, while Steady Clock continues to run in PLL mode. Despite if it’s an internal or external clock, the sound is exactly the same. The low phase noise oscillator driving the updated circuit reaches jitter specs lower than a picosecond to an area called femtosecond (fs).

SteadyClock FS features a few small improvements in the latest FS version, including even more efficient filtering and a design based on a super low jitter reference clock.

A Breakthrough in Clocking: ADI-2 DAC
RME’s recently released ADI-2 DAC converter is the first product in the RME family to feature SteadyClock FS. The ADI-2 DAC is a versatile 2-in/4-out studio-quality AD/DA converter that can be used as a USB audio interface, a double headphone amplifier, a high-end AD/DA frontend and headphone amp for iOS devices, a multi-format converter (AES, SPDIF, ADAT) with monitoring function, a DSD record and playback solution, and an AD/DA frontend for audio measurement up to 768 kHZ sample rate. The new SteadyClock FS technology provides the ADI-2 Pro FS with ultra-stability.

For more on RME, visit the Synthax booth 413 during AES New York 2019 or visit www.rme-usa.com

Attached Thumbnails
AES 2019: RME Updates SteadyClock Technology in its Interfaces-unnamed-1-.png  
Old 16th October 2019
  #2
Lives for gear
This is confusing. They have something that is good for bad madi clocks. The product is not new. It has been available since early 2018 and have had a special black edition that is sold out. And this product does not even has madi.
Old 17th October 2019
  #3
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mutetourettes's Avatar
 

Quote:
Originally Posted by bace View Post
This is confusing. They have something that is good for bad madi clocks. The product is not new. It has been available since early 2018 and have had a special black edition that is sold out. And this product does not even has madi.
I thought this too - this is not new.
Old 17th October 2019
  #4
The idea behind this news is to explain the futur strategy of RME: they will put the Steadyclock FS technology in their audio interfaces.
It's a great news because Steadyclock FS is an amazing jitter free technology. All the reviews around the ADI-2 Pro FS and ADI-2 DAC (FS inside) are really impressive and it will be so great to have RME interfaces with this new state-of-art clock technology inside.
Old 17th October 2019
  #5
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AudioGaff's Avatar
Pfffft.. Marketing gooble-gook. NO clock is jitter free, not even RME.
Old 18th October 2019
  #6
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doom64's Avatar
The steady clock gets steadier. Just lovely!
Old 18th October 2019
  #7
Gear Head
 

what's new about this? those a re pretty old news
Old 18th October 2019
  #8
Gear Maniac
 

Quote:
Originally Posted by AudioGaff View Post
Pfffft.. Marketing gooble-gook. NO clock is jitter free, not even RME.
It says Say ‘Goodbye’ to Jitter


Maybe they are running an atomic clock.
Old 21st October 2019
  #9
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Goodbye to Jitter implies for the novice and the uneducated that there is no more jitter which is a flat out lie & non-truth not based on any fact. As I stated. Marketing gooble-gook
Old 22nd October 2019
  #10
Quote:
Originally Posted by AudioGaff View Post
Pfffft.. Marketing gooble-gook. NO clock is jitter free, not even RME.
Yes you're right. I just want to explain that the Steadyclock FS is incredibly low. For those who want more details :
https://www.rme-usa.com/steadyclock-fs.html
Old 24th October 2019
  #11
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firubbi's Avatar
Quote:
The ADI-2 DAC is a versatile 2-in/4-out studio-quality AD/DA converter that can be used as a USB audio interface, a double headphone amplifier, a high-end AD/DA frontend and headphone amp for iOS devices, a multi-format converter (AES, SPDIF, ADAT) with monitoring function, a DSD record and playback solution, and an AD/DA frontend for audio measurement up to 768 kHZ sample rate. The new SteadyClock FS technology provides the ADI-2 Pro FS with ultra-stability.
You mean adi2pro fs has 2in 4out....
Old 25th October 2019
  #12
Quote:
Originally Posted by firubbi View Post
You mean adi2pro fs has 2in 4out....
Yes, line output and headphone output are separate output with their own converter.
Old 25th October 2019
  #13
Lives for gear
 

Quote:
Originally Posted by Megalobass View Post
Yes, line output and headphone output are separate output with their own converter.
while a solo bus is technically another bus, saying the interface is a 2in/4out device is a bit a bold claim: for this, i'd expect 2 pairs of fully independent symmetrical outputs plus additional solo/monitoring capabilities...

[it's a bit like saying madi devices are 128-channel units - if you count all i/o's, they are but by that logic, i don't wan't to think about how a large inline console would need to be called then (say 48 mic in, 48 line in, 48 tape return, 48 insert send, 48 insert return - and things go on with subgroups, auxes, mains, matrices, pfl/afl, 2trk return etc.]

otherwise no issues with rme gear: looongtime user of their madi gear and a couple of interfaces!
Old 26th October 2019
  #14
Quote:
Originally Posted by deedeeyeah View Post
while a solo bus is technically another bus, saying the interface is a 2in/4out device is a bit a bold claim: for this, i'd expect 2 pairs of fully independent symmetrical outputs plus additional solo/monitoring capabilities...

[it's a bit like saying madi devices are 128-channel units - if you count all i/o's, they are but by that logic, i don't wan't to think about how a large inline console would need to be called then (say 48 mic in, 48 line in, 48 tape return, 48 insert send, 48 insert return - and things go on with subgroups, auxes, mains, matrices, pfl/afl, 2trk return etc.]

otherwise no issues with rme gear: looongtime user of their madi gear and a couple of interfaces!
First off all, the ADI-2 Pro FS is a converter. It could be use as an audio interface but is not his primary function. There is no TotalMix FX so you don't have all the routing and monitoring capabilities you can find on a RME interface.
But in some cases you can use the ADI-2 Pro FS as a basic audio interface with two different modes : 2in /4out or 6in/8out.
Old 26th October 2019
  #15
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Quote:
Originally Posted by Megalobass View Post
First off all, the ADI-2 Pro FS is a converter. It could be use as an audio interface but is not his primary function. There is no TotalMix FX so you don't have all the routing and monitoring capabilities you can find on a RME interface.
But in some cases you can use the ADI-2 Pro FS as a basic audio interface with two different modes : 2in /4out or 6in/8out.
you mis-read my post - i'm arguing about the semantics rme is using: imo they are misleading for said reasons.
Old 28th October 2019
  #16
Gear Head
 

I could use ADI2-pro to sum 4 channels to 2. AES/EBU + SPDIF (or USB) --> 2 balanced and 2 unbalanced outputs. Put into an analog mixer, record the stereo bus. How is that not 2 in 4 out?

I've used the "phone"-outputs of UFX precisely like this. They are really multi-purpose outputs.
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