Clocks

Good audio is about timing.

We tend to talk a lot about frequency response—how deep the bass goes, how smooth the highs are—but equally important is timing. Not the tempo of the music, but the microsecond-level precision that lets our ears and brains locate sounds in space.

Get the timing right, and the soundstage opens up. Get it wrong, and everything collapses into the speakers.

This is where digital has historically struggled. Jitter—tiny timing variations in the data stream—blurs spatial cues. A violin that should float behind the left speaker ends up glued to the front baffle. A kick drum loses its snap. The performance feels flatter, less alive.

Fixing this isn’t about adding more bits or sampling at higher rates. It’s about controlling clocking, isolating noise, and delivering the signal to the DAC with absolute precision. That’s why we obsess over things like galvanic isolation, asynchronous USB, and ultra-low-jitter master clocks in our products.

When you get the timing right, everything else falls into place. The illusion of real musicians in a real space becomes convincing—and that’s where the magic happens.