Although I have them hooked up and terminated properly, they can still be a little fussy when I first turn them all on. I have quite a few digital mic preamps in my rig, and they range from UA to DBX. This translated into quite a lot less listening fatigue, and I was able to work longer and make mix decisions with quite a bit more confidence even after longer sessions. Suddenly, I was able to monitor at a much lower level and still hear all of the detail I was looking for in my mix. The simple act of connecting the MicroClock MK3 to my interface via word clock was like lifting a thin veil of cloth off of my studio monitors. This can manifest in your audio as phase discrepancies as well as distortion, and you can hear a little ‘messiness’ in your audio - often in the higher frequency area.Īll of this information is why, upon simply hooking up the MicroClock MK3 to my UA Apollo, I was able to hear a difference instantly. When some of those samples are a little closer together in time than others, jitter starts to get introduced. When those 48,000 times are spaced perfectly evenly, things sound fantastic. The digital audio clock is what is telling your converter when it should actually take the sample. If you’re recording at 48k, it’s taking a sample 48,000 times every second. I’m sure you’re aware that your digital audio interface is essentially sampling the world around it a certain number of times every second when you record.
#BLACK LION CLOCK MINI CLOCK GENERATOR#
After hearing the difference of adding a BLA MicroClock to my rig, I’m confident in saying that for most folks, not picking up an external clock generator would be a big mistake. With modern digital audio interfaces sounding better and better by the day, it’s often tempting to chalk your sound up as ‘good enough’ and call it a day. External word clocks can be often overlooked by home and pro studio users.
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