There are three ways to get hi-res audio out of your Mac: 1) through an optical Toslink cable connected to the headphone output; 2) through a USB cable; and 3) through a standard stereo eighth. Enabling Audio over USB in iOS devices. Live Versions: All Operating System: Mac 10.11.1 and later; iOS 9 and later As of Mac OS 10.11.1 El Capitan, it is possible to stream audio from your iOS device to your Mac via the Lightning cable. 3D SoundBack Beta 0.1 (Realtek 3D SoundBack restores audio effects, including surround sound, reverberation, and spatial effects, for legacy game titles when running on.
-->Starting with Windows 10, release 1703, a USB Audio 2.0 driver is shipped with Windows. It is designed to support the USB Audio 2.0 device class. The driver is a WaveRT audio port class miniport. For more information about the USB Audio 2.0 device class, see https://www.usb.org/documents?search=&type%5B0%5D=55&items_per_page=50.
The driver is named: usbaudio2.sys and the associated inf file is usbaudio2.inf.
The driver will identify in device manager as 'USB Audio Class 2 Device.' This name will be overwritten with a USB Product string, if it is available.
The driver is automatically enabled when a compatible device is attached to the system. However, if a third-party driver exists on the system or Windows Update, that driver will be installed and override the class driver.
Architecture
USBAudio.Sys fits within the wider architecture of Windows USB Audio as shown.
Related USB specifications
Video downloader for mac chrome. The following USB specifications define USB Audio and are referenced in this topic.
- USB-2 refers to the Universal Serial Bus Specification, Revision 2.0
- ADC-2 refers to the USB Device Class Definition for Audio Devices, Release 2.0.
- FMT-2 refers to the Audio Data Formats specification, Release 2.0.
The USB-IF is a special interest group that maintains the Official USB Specification, test specifications and tools.
Audio formats
The driver supports the formats listed below. An alternate setting which specifies another format defined in FMT-2, or an unknown format, will be ignored.
Type I formats (FMT-2 2.3.1):
- PCM Format with 8.32 bits per sample (FMT20 2.3.1.7.1)
- PCM8 Format (FMT-2 2.3.1.7.2)
- IEEE_FLOAT Format (FMT-2 2.3.1.7.3)
Type III formats (FMT-2 2.3.3 and A.2.3):
- IEC61937_AC-3
- IEC61937_MPEG-2_AAC_ADTS
- IEC61937_DTS-I
- IEC61937_DTS-II
- IEC61937_DTS-III
- TYPE_III_WMA
Feature descriptions
This section describes the features of the of the USB Audio 2.0 driver.
Audio function topology
The driver supports all entity types defined in ADC-2 3.13.
Each Terminal Entity must have a valid clock connection in compatible USB Audio 2.0 hardware. The clock path may optionally include Clock Multiplier and Clock Selector units and must end in a Clock Source Entity.
The driver supports one single clock source only. If a device implements multiple clock source entities and a clock selector, then the driver will use the clock source that is selected by default and will not modify the clock selector’s position.
A Processing Unit (ADC-2 3.13.9) with more than one input pin is not supported.
An Extension Unit (ADC-2 3.13.10) with more than one input pin is not supported.
Cyclic paths in the topology are not allowed.
Audio streaming
The driver supports the following endpoint synchronization types (USB-2 5.12.4.1):
- Asynchronous IN and OUT
- Synchronous IN and OUT
- Adaptive IN and OUT
For the asynchronous OUT case the driver supports explicit feedback only. A feedback endpoint must be implemented in the respective alternate setting of the AS interface. The driver does not support implicit feedback.
There is currently limited support for devices using a shared clock for multiple endpoints.
For the Adaptive IN case the driver does not support a feedforward endpoint. If such an endpoint is present in the alternate setting, it will be ignored. The driver handles the Adaptive IN stream in the same way as an Asynchronous IN stream.
The size of isochronous packets created by the device must be within the limits specified in FMT-2.0 section 2.3.1.1. This means that the deviation of actual packet size from nominal size must not exceed +/- one audio slot (audio slot = channel count samples).
Descriptors
An audio function must implement exactly one AudioControl Interface Descriptor (ADC-2 4.7) and one or more AudioStreaming Interface Descriptors (ADC-2 4.9). A function with an audio control interface but no streaming interface is not supported.
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The driver supports all descriptor types defined in ADC20, section 4. The following subsections provide comments on some specific descriptor types.
Class-Specific AS interface descriptor
For details on this specification, refer to ADC-2 4.9.2.
An AS interface descriptor must start with alternate setting zero with no endpoint (no bandwidth consumption) and further alternate settings must be specified in ascending order in compatible USB Audio 2.0 hardware.
An alternate setting with a format that is not supported by the driver will be ignored.
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Each non-zero alternate setting must specify an isochronous data endpoint, and optionally a feedback endpoint. A non-zero alternate setting without any endpoint is not supported.
The bTerminalLink field must refer to a Terminal Entity in the topology and its value must be identical in all alternate settings of an AS interface.
The bFormatType field in the AS interface descriptor must be identical to bFormatType specified in the Format Type Descriptor (FMT-2 2.3.1.6).
For Type I formats, exactly one bit must be set to one in the bmFormats field of the AS interface descriptor. Otherwise, the format will be ignored by the driver.
To save bus bandwidth, one AS interface can implement multiple alternate settings with the same format (in terms of bNrChannels and AS Format Type Descriptor) but different wMaxPacketSize values in the isochronous data endpoint descriptor. For a given sample rate, the driver selects the alternate setting with the smallest wMaxPacketSize that can fulfill the data rate requirements.
Type I format type descriptor
For details on this specification, refer to FMT-2 2.3.1.6.
The following restrictions apply:
Format | Subslot size | Bit resolution |
---|---|---|
Type I PCM format: | 1 <= bSubslotSize <= 4 | 8 <= bBitResolution <= 32 |
Type I PCM8 format: | bSubslotSize 1 | bBitResolution 8 |
Type I IEEE_FLOAT format: | bSubslotSize 4 | bBitResolution 32 |
Type III IEC61937 formats: | bSubslotSize 2 | bBitResolution 16 |
Class-Specific AS isochronous audio data endpoint descriptor
For details on this specification, refer to ADC-2 4.10.1.2.
The MaxPacketsOnly flag in the bmAttributes field is not supported and will be ignored.
The fields bmControls, bLockDelayUnits and wLockDelay will be ignored.
Class requests and interrupt data messages
The driver supports a subset of the control requests defined in ADC-2, section 5.2, and supports interrupt data messages (ADC-2 6.1) for some controls. The following table shows the subset that is implemented in the driver.
Entity | Control | GET CUR | SET CUR | GET RANGE | INTERRUPT |
---|---|---|---|---|---|
Clock Source | Sampling Frequency Control | x | x | x | |
Clock Selector | Clock Selector Control | x | |||
Clock Multiplier | Numerator Control | x | |||
Denominator Control | x | ||||
Terminal | Connector Control | x | x | ||
Mixer Unit | Mixer Control | x | x | x | |
Selector Unit | Selector Control | x | x | ||
Feature Unit | Mute Control | x | x | x | |
Volume Control | x | x | x | x | |
Automatic Gain Control | x | x | |||
Effect Unit | – | ||||
Processing Unit | – | ||||
Extension Unit | – |
Additional information on the controls and requests is available in the following subsections.
Clock source entity
For details on this specification, refer to ADC-2 5.2.5.1.
At a minimum, a Clock Source Entity must implement Sampling Frequency Control GET RANGE and GET CUR requests (ADC-2 5.2.5.1.1) in compatible USB Audio 2.0 hardware.
The Sampling Frequency Control GET RANGE request returns a list of subranges (ADC-2 5.2.1). Each subrange describes a discrete frequency, or a frequency range. A discrete sampling frequency must be expressed by setting MIN and MAX fields to the respective frequency and RES to zero. Individual subranges must not overlap. If a subrange overlaps a previous one, it will be ignored by the driver.
A Clock Source Entity which implements one single fixed frequency only does not need to implement Sampling Frequency Control SET CUR. It implements GET CUR which returns the fixed frequency, and it implements GET RANGE which reports one single discrete frequency.
Clock selector entity
For details on this specification, refer to ADC-2 5.2.5.2
The USB Audio 2.0 driver does not support clock selection. The driver uses the Clock Source Entity which is selected by default and never issues a Clock Selector Control SET CUR request. The Clock Selector Control GET CUR request (ADC-2 5.2.5.2.1) must be implemented in compatible USB Audio 2.0 hardware.
Feature unit
For details on this specification, refer to ADC-2 5.2.5.7.
Download cad 2018 full crack. The driver supports one single volume range only. If the Volume Control GET RANGE request returns more than one range, then subsequent ranges will be ignored.
The volume interval expressed by the MIN and MAX fields should be an integer multiple of the step size specified in the RES field.
If a feature unit implements single channel controls as well as a master control for Mute or Volume, then the driver uses the single channel controls and ignores the master control.
Additional Information for OEM and IHVs
OEMs and IHVs should test their existing and new devices against the supplied in-box driver.
There is not any specific partner customization that is associated with the in-box USB Audio 2.0 driver.
This INF file entry (provided in a update to Windows Release 1703), is used to identify that the in-box driver is a generic device driver.
The in-box driver registers for the following compatible IDs with usbaudio2.inf.
See the USB audio 2.0 specification for subclass types.
USB Audio 2.0 Devices with MIDI (subclass 0x03 above) will enumerate the MIDI function as a separate multi-function device with usbaudio.sys (USB Audio 1.0 driver) loaded.
The USB Audio 1.0 class driver registers this compatible ID with wdma_usb.inf.
And has these exclusions:
An arbitrary number of channels (greater than eight) are not supported in shared mode due to a limitation of the Windows audio stack.
IHV USB Audio 2.0 drivers and updates
For IHV provided third party driver USB Audio 2.0 drivers, those drivers will continue to be preferred for their devices over our in-box driver unless they update their driver to explicitly override this behavior and use the in-box driver.
Audio Jack Registry Descriptions
Usb Audio Codec Driver For Mac
Starting in Windows 10 release 1703, IHVs that create USB Audio Class 2.0 devices having one or more jacks have the capability to describe these jacks to the in-box Audio Class 2.0 driver. The in-box driver uses the supplied jack information when handling the KSPROPERTY_JACK_DESCRIPTION for this device.
Jack information is stored in the registry in the device instance key (HW key).
The following describes the audio jack information settings in the registry:
<tid> = terminal ID (As defined in the descriptor)
<n> = Jack number (1 ~ n).
Convention for <tid> and <n> is:
- Base 10 (8, 9, 10 rather than 8, 9, a)
- No leading zeros
- n is 1-based (first jack is jack 1 rather than jack 0)
For example:
T1_NrJacks, T1_J2_ChannelMapping, T1_J2_ConnectorType
For additional audio jack information, see KSJACK_DESCRIPTION structure.
Usb Audio Codec For Icom 7300
These registry values can be set in various ways:
- By using custom INFs which wrap the in-box INF for the purpose to set these values.
- Directly by the h/w device via a Microsoft OS Descriptors for USB devices (see example below). For more information about creating these descriptors, see Microsoft OS Descriptors for USB Devices.
Microsoft OS Descriptors for USB Example
The following Microsoft OS Descriptors for USB example contains the channel mapping and color for one jack. The example is for a non-composite device with single feature descriptor.
The IHV vendor should extend it to contain any other information for the jack description.
Troubleshooting
If the driver does not start, the system event log should be checked. The driver logs events which indicate the reason for the failure. Similarly, audio logs can be manually collected following the steps described in this blog entry. If the failure may indicate a driver problem, please report it using the Feedback Hub described below, and include the logs.
For information on how to read logs for the USB Audio 2.0 class driver using supplemental TMF files, see this blog entry. For general information on working with TMF files, see Displaying a Trace Log with a TMF File.
For information on 'Audio services not responding' error and USB audio device does not work in Windows 10 version 1703 see, USB Audio Not Playing
Usb Audio Mixer For Mac
Feedback Hub
If you run into a problem with this driver, collect audio logs and then follow steps outlined in this blog entry to bring it to our attention via the Feedback Hub.
Driver development
This USB Audio 2.0 class driver was developed by Thesycon and is supported by Microsoft.
Usb Audio Codec For Mac Wire
See also
If you own a Mac, you already have a high-resolution media file server at your disposal, with very little tweaking required to pass high-quality audio to your audio gear. I recently decided to set up my Mac in this way, to deliver hi-res throughout the signal chain--from my music library, to the player, to the DAC, to my preamp, amp, and loudspeakers (or preamp to headphones). Here is how I did it.
Building Your Hi-Res Music Library
The process starts with ripping or downloading music files directly to either your Mac's internal hard drive or an external drive, or designating a cloud site for your file storage (more on this in a minute). I store my music library on a 3TB Seagate external drive. Many people prefer to use an external drive because loading up your main hard drive with music files can potentially slow your computer's overall performance, especially when you get to the end of your drive's storage limits.
The process starts with ripping or downloading music files directly to either your Mac's internal hard drive or an external drive, or designating a cloud site for your file storage (more on this in a minute). I store my music library on a 3TB Seagate external drive. Many people prefer to use an external drive because loading up your main hard drive with music files can potentially slow your computer's overall performance, especially when you get to the end of your drive's storage limits.
Opinions will vary on what constitutes hi-res audio, but I set my sights on resolutions equal to or better than 24-bit/96-kHz. We all know that your system is only as good as its weakest link, so I started with either 24/192 or 24/96 FLAC files. Hi-res files may be offered in the FLAC (Free Lossless Audio Codec) or AIFF (Audio Interchange File Format) format, as well as DSD (Direct Stream Digital) and MQA (Master Quality Authenticated). DSD is the Philips/Sony system used to create the SACD (Super Audio Compact Disk) format, while MQA is a very clever codec that compresses the relatively little energy in the higher frequency bands to make the files smaller while retaining a hi-res result (it's also a good format for streaming services). To get the highest quality, you will want to avoid lossy formats like MP3 (Moving Picture Experts Group Layer-3), AAC (Advanced Audio Coding), and OGG (Ogg Vorbis, the name Ogg derives from the jargon word ogging) that sacrifice audio quality for file size. This was important when storage was expensive, but now storage is plentiful and cheap.
Hi-res music files are available for download from a number of websites, including: HDTracks.com,
primephonic, HiRes Download, iTrax.com, B&W's Society of Sound, Acoustic Sounds, Chandos, and�Blue Coast Records. If you're looking for suggestions on high-quality audio recordings, check out the reviews on our sister site, AudiophileReview.com. Here are a few great-sounding albums (all available as hi-res downloads) that I'd put on my list of desert island discs:
primephonic, HiRes Download, iTrax.com, B&W's Society of Sound, Acoustic Sounds, Chandos, and�Blue Coast Records. If you're looking for suggestions on high-quality audio recordings, check out the reviews on our sister site, AudiophileReview.com. Here are a few great-sounding albums (all available as hi-res downloads) that I'd put on my list of desert island discs:
Santana: Abraxas
Mozart: Great Mass in C minor
Thelonious Monk Orchestra: At Town Hall
The Rolling Stones: Sticky Fingers
Bob Marley: Legend (you are on a desert island, after all)
Steely Dan: Aja
Jethro Tull: Aqualung
Mozart: Great Mass in C minor
Thelonious Monk Orchestra: At Town Hall
The Rolling Stones: Sticky Fingers
Bob Marley: Legend (you are on a desert island, after all)
Steely Dan: Aja
Jethro Tull: Aqualung
Cloud Backup
About a year ago, I grew concerned that my entire life's savings of music--some of which is irreplaceable original music from the various bands I've been in--was all in one place, so I looked to the cloud for a backup/disaster recovery solution. My current total storage need is approximately 2.4 TB. Apple's iCloud offers five gigabytes of free storage, which isn't nearly enough for my music files, so I opted for the 2TB plan that costs $20 per month. I had to leave some of my more esoteric albums off the iCloud drive to fit under the 2TB size limit.
About a year ago, I grew concerned that my entire life's savings of music--some of which is irreplaceable original music from the various bands I've been in--was all in one place, so I looked to the cloud for a backup/disaster recovery solution. My current total storage need is approximately 2.4 TB. Apple's iCloud offers five gigabytes of free storage, which isn't nearly enough for my music files, so I opted for the 2TB plan that costs $20 per month. I had to leave some of my more esoteric albums off the iCloud drive to fit under the 2TB size limit.
Another cloud option is Google Drive, which offers 15 GB for free or one terabyte for $9.99/month; then it jumps to 10 TB for $99.99 monthly. Microsoft looks at storage a bit differently, tying its One Drive storage to the MS Office suite. When you purchase MS Office 365, you get 1 TB of storage. All your Excel spreadsheets, Word docs, and PowerPoint presentations are automatically stored there and are available for collaboration between users. There isn't anything preventing you from storing your music library there, but access is via Microsoft's Groove Music Pass, which is $9.99 per month in addition to the $99 annual cost of MS Office 365.
Amazon's Drive allows you to upload up to 250 songs for free. Subscribe to Amazon Prime ($99 annually) and get 5 GB of storage; for another $59.99 per year, you get unlimited storage. I currently use Apple's iCloud because I've been deeply invested in the Apple ecosystem from the first-generation iPod, but Amazon's value proposition is compelling. I am strongly considering making the switch. (If anyone out there has made the switch, I'd love to hear about your experience in the Comments section.)
Playback Software
Once you have begun to build your hi-res audio library, how do you play the files in a way that maintains their high bit and sample rate? I chose to download the VLC media player to my Mac (it's free) because it's capable of 24/96 and 24/192 native hi-res output. The VLC player can be downloaded here.
Once you have begun to build your hi-res audio library, how do you play the files in a way that maintains their high bit and sample rate? I chose to download the VLC media player to my Mac (it's free) because it's capable of 24/96 and 24/192 native hi-res output. The VLC player can be downloaded here.
As an alternative to VLC, you might consider the VOX Music player, which is also free and can be downloaded here.
Why not just use iTunes? The iTunes Store only sells music in the compressed AAC format, and the iTunes player doesn't support the most widely sold lossless format: FLAC. Some hi-res file formats like AIFF may be played by iTunes but will not be at their native hi-res rates. Beware: If you convert a 24/96 FLAC file to ALAC, for example, you will not get the original file's full resolution.
Connections
There are three ways to get hi-res audio out of your Mac: 1) through an optical Toslink cable connected to the headphone output; 2) through a USB cable; and 3) through a standard stereo eighth-inch mini-jack connected to the headphone out--which will use the Mac's excellent internal DAC that supports up to 24-bit/192-kHz.
There are three ways to get hi-res audio out of your Mac: 1) through an optical Toslink cable connected to the headphone output; 2) through a USB cable; and 3) through a standard stereo eighth-inch mini-jack connected to the headphone out--which will use the Mac's excellent internal DAC that supports up to 24-bit/192-kHz.
I suppose you could also count Bluetooth as the fourth way, but I'm not convinced that, even with A2DP negotiating between the transmitter and receiver the best CODEC available, you aren't losing audible quality in the wireless transmission.
Any of the above three connections ensures output of your audio files at the full resolution. Options one and two are still in the digital domain, so you will need to convert the signal to analog before sending it along its path that ultimately leads to your analog ears. The HTR archive is full of reviews that will steer you to a great digital-to-analog converter (DAC) at any price point. Just remember to make certain that the DAC supports the highest quality files in your catalog.
The next component in line is either your preamp or integrated amp. My setup includes a tube preamp that has both a headphone output and individual right and left line-level RCA outputs, which then feed either my tube or solid-state amplifier (I have one of each). Either amp then leads to my loudspeakers. If I'm listening through headphones, they are fed directly from my preamp.
My Results
I am enjoying incredible results using my Mac as a hi-res server. When comparing hi-res FLAC files via VLC to music coming from my iTunes library at 16/44.1, the difference is truly amazing in terms of imaging, dynamic range, extended high and low frequencies, clear and detailed mids, and the all-important warmth, air, and intimacy. When listening to the same song, switching only the file resolution, the iTunes files sounded flat and one-dimensional. Don't believe me? I recently read an excellent open-access paper on our ability to hear differences with high-resolution audio that can be found here.
I am enjoying incredible results using my Mac as a hi-res server. When comparing hi-res FLAC files via VLC to music coming from my iTunes library at 16/44.1, the difference is truly amazing in terms of imaging, dynamic range, extended high and low frequencies, clear and detailed mids, and the all-important warmth, air, and intimacy. When listening to the same song, switching only the file resolution, the iTunes files sounded flat and one-dimensional. Don't believe me? I recently read an excellent open-access paper on our ability to hear differences with high-resolution audio that can be found here.
You Can Take It With You
Want to enjoy your higher-quality audio on the go? That's become a lot easier, too--thank to players like Astell & Kern's AK240, Sony's NW-ZX2, Onkyo's DP-X1, Questyle's QP1R, and HiFiMAN's HM802s and HM901s. Do these players offer an improvement over a basic standard-res player? Yes, but remember that your environment and choice of headphones will impact your ability to hear all the differences.
Want to enjoy your higher-quality audio on the go? That's become a lot easier, too--thank to players like Astell & Kern's AK240, Sony's NW-ZX2, Onkyo's DP-X1, Questyle's QP1R, and HiFiMAN's HM802s and HM901s. Do these players offer an improvement over a basic standard-res player? Yes, but remember that your environment and choice of headphones will impact your ability to hear all the differences.
Final Thoughts
Of course, there are a lot of excellent hi-res digital audio players on the market that would make a great addition to your gear rack, if you prefer a dedicated component. But if you're looking for high quality on a budget and you already own a Mac, then why not work with what you already have right in front of you? My results were outstanding.
Of course, there are a lot of excellent hi-res digital audio players on the market that would make a great addition to your gear rack, if you prefer a dedicated component. But if you're looking for high quality on a budget and you already own a Mac, then why not work with what you already have right in front of you? My results were outstanding.
I would be remiss if I didn't mention the importance of how the music came to exist in the first place. The composition, the quality of the musicianship, the groove (or the tempo in classical pieces), the production, the mix, and the mastering process . all of these have great impact and ultimately contribute to what resonates with you. I've heard amazing music that was recorded in the 50s and really poor-sounding music that was recorded mere months ago . so technology is one thing, passion another.
Additional Resources
� Chasing the Holy Grail of Audio at HomeTheaterReview.com.
� Examining My Love/Hate Relationship with Video Discs at HomeTheaterReview.com.
� What's the Ideal Speaker Driver Configuration? at HometheaterReview.com.
� Chasing the Holy Grail of Audio at HomeTheaterReview.com.
� Examining My Love/Hate Relationship with Video Discs at HomeTheaterReview.com.
� What's the Ideal Speaker Driver Configuration? at HometheaterReview.com.