There was a slot in the back for our optional 24 Bit/96KHz Analog to Digital converter and 24 Bit/192KHz Digital to Analog converter card. This allowed one to record directly  to the computer or workstation and provided a convenient way to use a digital insert to jump into the analog realm and back. An AES digital input received the stereo digital signal  to convert to analog for processing by the SLAM! when the DAC input was selected.  Or this killer DAC's Output could be used for monitoring, listening, or to be sent to someother analog processors or tape machines. 

The digital inputs and outputs were on XLR's for AES/EBU standards and there was also a BNC for Word Clock and Super Clock input. The BNC was added for users' convenience and not just to help the unit's jitter performance. The jitter spec was "Almost Zero" and just about unmeasurable regardless of whether it was locked to its own crystal, the AES input, or the Word/Super Clock. A 7-wayrotary switch selected 44.1, 48, 88.2 or 96K, AES IN, Word Clock and Super Clock, for the AES output data rate. Notice we didn't say "sample rate". This ADC and DAC always used the internal 192K sample rate! Truly amazing sample rate converters based on SHARC DSPs were used to almost eliminate (not just reduce) jitter and provided the sonic benefits of 192K sampling, even at 48K or 44.1 data rates. These were very fast exceptional sounding world-class converters.

The ADC also had a pair of switches for DITHER and NOISE SHAPING and WORD LENGTH, plus something unusual: a filter select switch. We believed that the manufacturer's choice of filter was one of the biggest differences that affected the sound of a converter, so we gave the user 3 choices, 80K minimal effect, 20K Analog, (a passive filter similar to the 18K on the Massivo), and a 20K Digital FIR for something comparable to other converters. There were also 3 filters on the DAC side set for 20K, 40K gentle, and 80K. All of these were passive and quite subtle and useful. There was a dedicated balanced +4 phone jack output for the DAC, so these could be tube-converters or high end solid state. The ADC was similar, but tube or passive(!) front end, that allowed a mastering EQ to be cleverly used in this chain.The DAC output was always available. There was even a twisted way (called "Expert Mode") to patch the SLAM! so that one could have the MIC PRE/ELOP feeding an EQ, (or some other thing), returning back to the SLAM! to drive the FET LIMITER, meters, and the A to D converter.  Digital I/O Interface option: was $2,500 and is NO LONGER AVAILABLE since 10/2009