It takes your DAWs audio clock an derives an ultra precise and almost jitter-free clock from it. To put a finer point on it, I would be just ecstatic to buy the MRCC instead of a second and likely third multiclock which I would pick up just for this clock functionality (and certainly not for anything else it does). The Multiclock USB is a multi-format solution for audio synchronisation. Please consider a clock offset feature like the multiclock's. The audio from that track is patched to a output of the Souncraft. To do so I use the ERM VST plugin (usually used by their MultiClock) that outputs audio pulses as soon as the sequencer is running (it reads a looping audio file, AFAIK). The MB2S is clocked over its analog clock input. I hardly care about the other things the multiclock does, like prioritizing clock messages over other midi messages, allowing for clock division of or shuffle introduced to the midi clock outputs, or the transport controls for each midi output. LANE ON BOTTOM: AK remains clocked by Ardour midi clock. It seems like this could be more difficult or impossible to achieve on the hardware you've designed as others have pointed out. E-rm advertises +/-1 sample jitter at 48khz when syncing multiclock this way. Their plugin makes it really easy, but really only a DAC is needed to make the pulses. The other part of how the multiclock achieves superior sync is that it can sync to a sync signal generated by an audio interface (DAC) originating from a DAW. For example, one MIDI output can be connected to an E-mu SP-1200 with -0.5 ms offset, and another can be connected to an Akai MPC-3000 with the clock delayed 2.1 ms, allowing the sequencers to be actually in sync with each other and a DAW, as opposed to having phasing issues. That is, you can offset the clock signals that are being sent out by 1/10th of 1 ms offsets.

I created an account to say that I would also buy one of these if it did the basic MIDI clock offset functionality of the E-RM multiclock.

Erm multiclock set up