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Master Clock.
Here we're dealing with the sample rate used by the PHASE 28 audio interface. This is a
very important point, as the system can be clocked by an external signal (External, e.g.
from a DAT recorder) or it can set a sampler rate itself and provide this signal to other
devices.
You can choose from all commonly used sampler rates from 32 to 192 kHz - the actual bit
rate is not important at this point. In the case of external synchronization (i.e. via a signal
applied to the digital interfaces or the internal connection to cascade multiple cards), the
external sampler rate will be displayed. If no signal is available or the connection has
been interrupted, the message "No Signal" will be returned.
The "Sample Rate Locked" switch also allows you to set the sampling frequency to a
specified value (or when using external synchronization, the externally preset value).
Doing so ensures that only this sample rate will be accepted by the PHASE 28 system.
However, remember that in "non-ASIO" mode, the operating system's own sampling rate
converter (SRC) may convert automatically to the required values. Example: The
PHASE 28 system is set to 44.1 kHz and Windows Media Player, or I-Tunes on MAC OS
X systems, is playing a 48-kHz file. In this case, the signal is down-sampled to 44.1 kHz,
and every form of SRC leads to a certain degree of quality loss.
Practical tip: The audio controller of the PCI card does not fea-
ture a sample rate converter. This module - which is common on
consumer sound cards - normally lets you play back signals with a
variety of sampler rates by "interpolating", as needed, the sample
rates in real time to a specific frequency. This process is now
controlled by the operating system. Therefore, make sure when
outputting your production (if not earlier) that the sampling rate of
your project matches the audio interface's sampling rate.
Digital Out.
As in the drop-down menus of the Analog Out area, here you can select one of three
signals for digital output: the analog input, its digital counterpart, or the WAVE output (in
other words: your audio application).
Channel Status.
Here, you can define whether a signal you send via the digital interface conforms to the
S/PDIF protocol, or should contain certain copy-protection information. It is possible to
add copy-protection information (original) to your recording when transferring it to another
device. This can be useful when recording a composition to DAT or a MiniDisk as a demo
to prevent (digital) copies from being made.
PHASE 28 (English)
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