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In consumer use, most equipment features RCA S/PDIF connectors in stead of XLR
AES3 connectors. To facilitate Hi-Fi use of the CC1, all our consumer units are
shipped with an S/PDIF <-> AES3 conversion cable set.
Clock Loop
A clock loop is a runaway situation where two devices are slaved to eachother, for
instance the CC1 slaved to a recorder which in turn is slaved to the CC1. Neither de-
vice is the clock master and the result will usually be that the clock frequency ends
up at an extreme of the tuning range of one of the devices. Before setting the CC1
to slave, insure that the clock input originates from a master.
PLL setting in attached devices.
Audio devices capable of locking to an external clock use a phase-locked loop to do
so. Details of this are covered in our white paper “PLL and clock basics” that can be
found on the info page of our website. An important thing to know for a CC1 user is
that some products have two modes, usually called “fast/wide” or “slow”. The slow
setting has the best suppression of incoming jitter, and is the optimum choice when
the incoming clock is polluted. The downside of the slow setting is that the jitter in
the recovered clock is fully dominated by the clock oscillator that forms part of its
PLL. If the incoming clock happens to be much stabler than that, the slow mode will
actually end up adding jitter. The latter scenario is almost guaranteed to be the case
with the CC1, which is significantly cleaner than any clock oscillator we’ve found
in commercially available audio products so far. As a rule, in this case it is usually
better to select the “fast” mode. In fast mode, the PLL will track the incoming clock
more closely and if the incoming clock is extremely clean, the same will go for the
regenerated clock.
Products that have a fixed slow PLL, such as those from Apogee, dCS, Lynx or Prism
Sound, will improve comparably little compared to products with a switchable or
relatively fast PLL like those from Avid, Lavry Engineering, MOTU, Mytec, SSL or
RME. Digital loudspeakers that feature a word clock input, like Dynaudio Air, will
also benefit from slaving to the CC1.
Syncing to Video
Before complicated digital studios became practical, video studios have been us-
ing house syncs for decades. As soon as more than one camera is used, all sources
need to be synchronised. Apart from a time base reference there is also a need
to know the actual timing of a frame. This information is provided by time codes.
Although the time code signal is of course synchronous with the video sync, it is
usually transmitted separately. In some cases the “LTC” code is used as main video
Summary of Contents for CC1
Page 1: ...Please read this manual before operating the unit ...
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