Owner`s manual

new software as needed. In this respect, the Nº360 is more like a mod-

ern computer in its architecture, whereas most audio processors are

akin to mere appliances, designed to provide only a fixed set of func-

tions.

Everything that the Nº360 “knows” how to do is stored in non-volatile

computer memory. Updating this “flash” memory to accommodate

newly-announced formats of functions is a simple matter of connect-

ing the Nº360’s RS-232 port on the rear panel to a PC and download-

ing new information. The process takes but a few minutes, and mini-

mizes any chance of premature obsolescence for this fine product.

An “intelligent” FIFO Unlike most processors which are highly dependent on the quality of

the digital signal they are fed, the Nº360 Digital Audio Processor deliv-

ers outstanding performance with even less-than-ideal digital signals.

“FIFO” stands for “First In, First Out.” It describes a simple buffer in

which the digital information is stored temporarily on its way to being

converted to analog. Just as a large water tower can provide a steady

source of water to a small town, despite hour-to-hour variations in the

supply of water from the well, a FIFO can provide a steady, consistent

source of digital data to the converters which are responsible for chang-

ing that data into music. Even if there is significant “jitter” (inconsis-

tencies in timing) in the incoming digital information, the output of

the FIFO is controlled by a special clock with tremendous accuracy.

The result largely eliminates the jitter and allows the musical informa-

tion to be reproduced cleanly, without jitter-induced distortions.

The trouble with most FIFOs lies in their behavior when the incoming

signal is poor enough to cause the “water tank” to overflow or to be

emptied. Normally, a FIFO would then have to “invent” false data to fill

the gap, throw away excess data, or revert to non-FIFO operation. None

of these approaches is acceptable, as they all represent serious sonic

compromises.

Of course, one could simply use an extremely large buffer. Unfortu-

nately, this solution is a poor one.

A larger buffer implies a longer delay between when information goes

in and when it starts coming back out. With laserdiscs, for example,

you must keep the in/out delay small so as to keep the soundtrack syn-

chronized with the picture on the screen. An oversized buffer would

make every movie’s audio out of step with its video, an unacceptable

situation. Of course, one could bypass the FIFO for movies, at the cost

of losing all of its distortion-reducing benefits.