▁the ▁accuracy ▁of ▁sample ▁clock s ▁as ▁emb od ied ▁in ▁the ▁interface ▁signal ▁and ▁the ▁use ▁of ▁this ▁format ▁as ▁a ▁convenient ▁synchron ization ▁reference ▁where ▁signals ▁must ▁be ▁rendered ▁co - tim ed ▁for ▁digital ▁processing . ▁S ynchron ism ▁is ▁defined , ▁and ▁limits ▁are ▁given ▁which ▁take ▁account ▁of ▁relevant ▁timing ▁un cert aint ies ▁encountered ▁in ▁an ▁audio ▁studio . ▁ ▁Rel ated ▁develop ments ▁A ES 1 1 ▁Anne x ▁D ▁( in ▁the ▁November ▁ 2 0 0 5 ▁or ▁later ▁printing ▁or ▁version ) ▁shows ▁an ▁example ▁method ▁to ▁provide ▁is och ron ous ▁timing ▁relationships ▁for ▁distributed ▁A ES 3 ▁structures ▁over ▁asynchronous ▁networks ▁such ▁as ▁A ES 4 7 ▁where ▁reference ▁signals ▁may ▁be ▁locked ▁to ▁common ▁timing ▁sources ▁such ▁as ▁G PS . ▁ ▁In ▁addition , ▁the ▁Audio ▁Engineering ▁Society ▁has ▁now ▁published ▁a ▁related ▁standard ▁called ▁A ES 5 3 , ▁that ▁spec ifies ▁how ▁the ▁timing ▁markers ▁already ▁specified ▁in ▁A ES 4 7 ▁may ▁be ▁used ▁to ▁associate ▁an ▁absolute ▁time - st amp ▁with ▁individual ▁audio ▁samples . ▁This ▁may ▁be ▁closely ▁associated ▁with ▁A ES 1 1 ▁and ▁used ▁to ▁provide ▁a ▁way ▁of ▁align ing ▁streams ▁from ▁dispar ate ▁sources , ▁including ▁synchron izing ▁audio ▁to ▁video ▁in ▁network ed ▁structures . ▁ ▁The ▁media ▁profile ▁defined ▁in ▁an nex ▁A ▁of ▁A ES 6 7 ▁provides ▁a ▁means ▁of ▁using ▁A ES 1 1 ▁synchron ization ▁via ▁the ▁P rec ision ▁Time ▁Pro tocol