Today, easily the most commonly used interface formats are AES3 and its close derivatives. There are still a couple of manufacturer-specific interface formats around, such as Tascam's T-DIF and Roland's R-Bus, but these are mainly restricted to those specific brands of equipment and are very unlikely to survive another decade. Yamaha's Y1 and Y2 formats, Sony's S-DIF and DASH interfaces and Mitsubishi's PD system, for example, are all gone. I mentioned several manufacturers' bespoke interface formats in that article 10 years ago, but they have all disappeared from the current scene. The first is intended primarily for making stereo or two-channel connections, while the ADAT interface can accommodate up to eight channels. These are the AES3 format and the ADAT format. These days, although there are a few variations on each theme, we really have just two main families of dedicated digital audio interface in common use. Not surprisingly, perhaps, little has changed since then in terms of the principles and techniques involved, but some of the interfaces we used then have disappeared now, and the practice of connecting equipment digitally has become a rather more familiar part of our day-to-day lives in the studio. Looking through back issues of Sound On Sound, I discovered that I first wrote about connecting digital equipment some 10 years ago. Getting the jitters about your digital clocking? Don't know your AES from your EBU? Then read on.
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