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eXtream Software Development has written a custom USB audio driver from scratch because Android did not support USB audio until Android 5. Even Android 5 and upward has very limited support for USB audio devices (see below) and as such this driver remains very useful for every Android version higher than 3.1. Next to that, our driver provides low latency, making it possible for example to play virtual instruments in real-time on many devices that cannot do this using the Android driver. The driver supports mono, stereo and multi-channel streams, 16-, 24- and 32-bit resolutions and any sample rate that the device provides. If your device exposes internal mute, volume and/or gain controls, they can be controlled as well. For our media player, USB Audio Player PRO, the driver allows to play in bit-perfect, something that the Android driver will never do.
Audio Evolution Mobile is the leading multitrack audio and MIDI DAW on Android. You can enable USB audio by doing an in-app purchase or by purchasing USB Audio Recorder PRO. Without in-app purchase, the app lets you test your USB audio interface/mic by limiting the recording time.
USB Audio Player PRO is a high quality media player that allows the highest quality possible audio playback to your DAC and supports most audio formats like DSD, FLAC, MQA, APE, MP3, etc. It can also function as UPnP media renderer and can play in bit-perfect.
In order to connect your USB audio interface to your Android device you will need a USB OTG cable to trigger the 'USB host' functionality of your Android device (for devices with a micro-USB connector). This is the cable you need (when you order a cable, make sure it says 'OTG') :
If you have a USB-C connector on your Android device, you will need a converter cable that provides both data and power. If your Android device does not come with one, make sure to buy one that looks like this:
This cable is similar to a standard USB OTG cable with a full sized female USB connector on the end that connects to the audio interface, but it branches off into 2 connectors on the other end. One is a standard male micro USB connector for connecting to the android device and the other is a female micro USB connector. The female micro USB connector allows the ability to plug in a standard male micro USB wall charger to inject power into the circuit.
Google introduced USB audio support in Android 5, unfortunately our tests have shown that their driver has several limitations (aside not offering low latency). Please see here for more information:
Your USB audio device must be class-compliant in order to work. USB 1.1 and USB 2.0 class-compliant devices are supported with either USB audio spec 1.0 or 2.0. The following table gives an overview of the devices that either we tested or that have been tested by beta testers. In no way we can be held responsible for a device not working on your specific Android device, since every combination or even different Android versions on the same device can pose new problems. We have a free demo version where you can test out your device combination before purchase.
If your device does has a micro-USB port, you need a USB OTG cable. This is a cable with a male micro-USB connector on one side (for connecting to your Android device) and a female full-sized USB port for connecting your USB audio device. Note that it must say 'OTG', since that activates the host mode of your Android device. If your device has a USB-C port, then you simply need a cable providing both power and data, since there is no real concept of OTG anymore for USB-C.
DSD uses pulse-density modulation encoding - a technology to store audio signals on digital storage media which are used for the SACD. The signal is stored as delta-sigma modulated digital audio, which is a sequence of single-bit values at a sampling rate of 2.8224 MHz (64 times the CD audio sampling rate of 44.1 kHz, but only at 1 32768 \displaystyle \tfrac 132768 of its 16-bit resolution). Noise shaping occurs by use of the 64-times oversampled signal to reduce noise and distortion caused by the inaccuracy of quantization of the audio signal to a single bit. Therefore, it is a topic of discussion whether it is possible to eliminate distortion in one-bit delta-sigma conversion.[1]
DSD is a method of storing a delta-sigma signal before applying a decimation process that converts the signal to a PCM signal. Delta-sigma conversion was first described by C. C. Cutler in 1954,[2] but was not named as such until a 1962 paper by Inose et al. Decimation did not initially exist, and oversampled data was sent as is. The proposal to decimate oversampled delta-sigma data before converting it into PCM audio was made by D. J. Goodman in 1969.[3]
DSD technology was later developed and commercialized by Sony and Philips, the designers of the audio CD. However, in 2005, Philips later sold its DSD tool division to Sonic Studio.[4][better source needed]
The majority of Telarc International Corporation's releases were on (generally hybrid) SACD, and are DSD recordings.[13][failed verification] Telarc often worked with early audiophile company Soundstream, and re-released many of its original Soundstream recordings in SACD format.[14] Soundstream, which made the first digital recording in the United States, recorded in 16 bit PCM at a sample rate of 50 kHz via its own proprietary digital recorder. This 50 kHz PCM format was converted to DSD for release on Telarc SACD.
On August 28, 2013, the Acoustic Sounds label launched SuperHiRez.com (now defunct), which sold mainstream albums from major record labels that were produced with Direct Stream Digital or PCM audio formats.[17][18] On September 4, 2013, Acoustic Sounds announced an agreement with Sony Music Entertainment to provide the company's new digital download service with albums that have been produced or remastered in Direct Stream Digital format.[19]
The process of creating a DSD signal is conceptually similar to taking a one-bit delta-sigma analog-to-digital (A/D) converter without adding a decimator, which converts the 1-bit bitstream into multi-bit PCM. Instead, the 1-bit signal is recorded directly and, in theory, only requires a lowpass filter to reconstruct the original analog waveform. In reality, it is a little more complex, and the analogy is incomplete in that 1-bit sigma-delta converters are, these days, rather unusual, most modern sigma-delta converters are multi-bit, one reason being that a one-bit signal cannot be dithered properly.[citation needed]
Another format for DSD editing is Digital eXtreme Definition (DXD), a PCM format with 24-bit resolution sampled at 352.8 kHz (or alternatively 384 kHz). DXD was initially developed for the Merging Technologies Pyramix workstation and introduced together with their Sphynx 2, AD/DA converter in 2004. This combination meant that it was possible to record and edit directly in DXD,[25] and that the sample only converts to DSD once before publishing to SACD. This offers an advantage to the user as the noise created by converting DSD rises dramatically above 20 kHz, and more noise is added each time a signal is converted back to DSD during editing.
Note that high-resolution PCM (DVD-Audio, HD DVD and Blu-ray Disc) and DSD (SACD) may still technically differ at high frequencies. A reconstruction filter is typically used in PCM decoding systems, much the same way that bandwidth-limiting filters are normally used in PCM encoding systems. Any error or unwanted artifact introduced by such filters typically affects the end-result. A claimed advantage of DSD is that product designers commonly choose to have no filtering, or modest filtering. Instead DSD leads to constant high levels of noise at these frequencies. The dynamic range of DSD decreases quickly at frequencies over 20 kHz due to the use of strong noise shaping techniques that push the noise out of the audio band, resulting in a rising noise floor just above 20 kHz. The dynamic range of PCM, on the other hand, is the same at all frequencies. However, almost all present-day DAC chips employ some kind of sigma-delta conversion of PCM files that results in the same noise spectrum as DSD signals. All SACD players employ an optional low-pass filter set at 50 kHz for compatibility and safety reasons, suitable for situations where amplifiers or loudspeakers cannot deliver an undistorted output if noise above 50 kHz is present in the signal.
Referred to as DSD128 because the sample rate is 128 times that of CD. Since its establishment content creators have started to make 5.6 MHz DSD128 recordings available, such as the audiophile label Opus3.[26] Additionally a 44.1 kHz variant at 5.6448 MHz has been supported by multiple hardware devices such as the exaSound e20 Mk II DAC.[27] The Korg MR-1000 1-bit digital recorder samples at 5.6448 MHz, twice the SACD rate.
Some professional audio recorders (from Korg, Tascam, and others) can record in DSD format. Transferring this signal to a recordable DVD with the appropriate tools, such as the AudioGate software bundled with Korg MR-1/2/1000/2000 recorders, renders a DSD Disc. Such discs can be played back in native DSD only on certain Sony VAIO laptops and PlayStation 3 systems.[32] HQPlayer from February 16, 2011, version 2.6.0 beta includes support for direct/native playback from DSD Interchange File Format (DSDIFF) and DSD stream files (DSF) to ASIO devices with DSD support. Moreover, Sony produces two SACD players, the SCD-XA5400ES and the SCD-XE800, that fully support the DSD-disc format. Only the DSF format is supported. However, since most personal computers have only PCM audio hardware, DSD discs must be transcoded to PCM on the fly with the proper software plug-ins with questionable quality benefits compared to native high resolution PCM sources like DVD or Blu-ray Disc Audio. 2ff7e9595c
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