RME Audio Micstasy Manuel d'utilisateur télécharger pdf (Page 1)

Micstasy

8-Channel Full Range 192 kHz Preamp / AD converter

Connectivity

8 x Analog Mic / Line Preamp Input (XLR/Line TRS)

8 x Analog Output (XLR)

4 x AES/EBU Out (25-pin D-sub - 8 channels @ 192 kHz)

1 x AES/EBU In (for Synchronization, 25-pin D-sub)

2 x ADAT Out (TOSLINK) 8 ch. @ 96 kHz (S/MUX), 4 ch. @ 192 kHz (S/MUX4)

optional: 1 x MADI I/O coaxial and optical with I64 MADI Card (Micstasy M)

MIDI I/O (5-pin DIN)

Word Clock I/O (BNC)

he Micstasy is an 8-channel hi-end mic/line/instrument preamp and AD converter combining typical

RME features with a number of previously unseen features. Along with SteadyClock, the Micstasy not

only oﬀers low latency AD conversion of the highest quality, but is also fully remote-controllable via

MIDI and also MIDI over MADI.

Universal input device. The Micstasy’s innovative concept allows for ampliﬁcation and digitization of all

analog signal sources, including high level stage signals, typical studio signals, lower level and high-impedance

instruments, or dynamic, condenser or ribbon microphones. The impressive 85 dB gain range, digitally

controlled in steps of 0.5 dB, allows connection of all conventional analog studio signals within a range of -56

dBu up to +30 dBu. The analog outputs can be set to a max. level of +27 dBu. The ampliﬁed signals are also

available at the analog outputs for passing them on, making an expensive splitter box on stage obsolete. The

Micstasy can be used analog (Mic/Line In to Line Out) and digital (Mic/Line In to Digital Out), with both signal

paths operating simultaneously. The options, Phantom Power (+48 V), Phase, Lo Cut, M/S-encoding (digital

only), Input Selection, Hi-Z and AutoSet can be switched for each channel individually.

Low Latency. The Micstasy uses high-class AD converters, oﬀering exceptional Signal to Noise and distortion

ﬁgures. An innovative digital ﬁlter, achieving for the ﬁrst time a delay of only 12 samples in Single Speed (0.25

ms), 9 samples in Double Speed (0.09 ms), and 5 (!) samples in Quad Speed (0.026 ms). These values are less

than a quarter of those available from even much more expensive devices. They represent an important step

in further reducing the latency in the computer-based recording studio. At DS and QS the added latency can

simply be ignored. And with the ADI-8 QS, a matching DA-converter with only 5 up to 10 samples delay will

turn ‘analog digital monitoring’ into real analog-style monitoring.

Technologies. The Micstasy oﬀers numerous extraordinary features. SyncCheck ensures perfect synchronization

and clear detection of errors. Also multiple units can be stacked and operated sample-aligned, using Word

Clock. All settings are stored when the unit is switched oﬀ. RME’s SteadyClock guarantees excellent clock

quality in any situation. Due to the highly eﬃcient jitter reduction, the Micstasy’s AD converters operate

independently from the quality of the external clock signal, as if they are working with internal clock all the

time - guaranteeing a prestine sound quality! Additionally Intelligent Clock Control will retain the last valid

sample frequency in case of a loss of the input signal.

Remote Control. One of Micstasy’s outstanding features is its full remote controllability. All functions can be

controlled via MIDI or MIDI over MADI, allowing the device to be placed anywhere on stage or in the studio

– with full control from the studio or FOH mixer. This means that microphone cables can be relatively short,

ensuring high quality signals without interference.

Technologies

MIDI Remote

MIDI over MADI

Intelligent Clock

ADAT S/MUX and S/MUX4

Autoset

I64 Option Slot

SteadyClock

SyncCheck®

SyncAlign®

TotalGain

Cascadable

For technical speciﬁcations please continue on next page

24 Preamps 25Micstasy

PREMIUM LINE

“Sensational Sound.

Unique ease of use.

... one of the best

preamps we´ve

ever tested.”

Professional Audio Magazin

▪ 85 dB gain range

▪ High-end circuitry with 4 relays per channel,

▪ Super-low-noise microphone front end

▪ Symmetrical Super-Low THD Lo Cut ﬁlter, 18 dB/oct

▪ Balanced front panel line input on each channel

▪ Hi-Z front panel instrument input on each channel

▪ LED level display with 13 LEDs per channel and Peak

Hold function

▪ Single, ganged or all-relative gain control

▪ Minimized noise at the analog outputs when powering

the device up or down

▪ Current device conﬁguration storable to 8 presets

▪ Full remote controllability

▪ M/S Encoding (digital only)

▪ Automatic gain reduction when AutoSet mode is active;

adjustable headroom of 1, 3, 6 or 12 dB

Autoset. Some preamps feature limiters in order to prevent an overload,

especially of the AD converter. This is not feasible for the Micstasy,

as such a limiter would ruin the excellent technical speciﬁcations of

the microphone front end. But as the Micstasy’s gain is controlled

completely digitally, the device can set it automatically, thus providing

perfect protection from overload with no degradation of the audio

signal, which does not have to pass any additional electronic circuitry.

And the gain can still be changed manually.

Example: In an orchestral recording session, the user sets all channels to

60 dB gain and asks the conductor to let the orchestra play fortissimo.

AutoSet will automatically adjust the levels by reducing the gain. In

AutoSet mode a “threshold” can be set to deﬁne an overhead of -1, -3,

-6, or -12dB. Additionally, a special downlink function allows to group

channels for AutoSet mode (e.g. for Stereo- or Surround-Microphone

systems). Manual gain adjustment thus becomes obsolete most of the

time.

MADI. The I64 MADI Card provides the Micstasy with a 64-Channel

MADI input and output. Coaxial and optical output operate in parallel

to the AES/EBU and ADAT output, therefore deliver the same data. The

I64 MADI Card features an optical as well as a coaxial MADI input and

provides serial pass-through capability from one Micstasy to the next

(up to 8). Such a way of cascading is also possible between Micstasy

and other RME MADI devices, like the ADI-8 QS.

Furthermore the I64 MADI Card provides the ability of 8 channels being

used as digital return path, sending audio via MADI to the Micstasy’s

ADAT and AES outputs. For example stage and studio monitors can be

fed digitally from the Micstasy. On stage the use of an additional D/A-

converter (e. g. ADI-8 DS) might be necessary.

Features

1 2

Micstasy 1
OctaMic II 2

Résumé du contenu

Page 1 - Micstasy

Micstasy8-Channel Full Range 192 kHz Preamp / AD converterConnectivity8 x Analog Mic / Line Preamp Input (XLR/Line TRS)8 x Analog Output (XLR)4 x AES

Page 2 - OctaMic II

PREMIUM LINE ▪ SNR: 129 dB EIN @ 150 Ω ▪ THD: < 0.006% @ 30 dB gain ▪ Frequency response: 5 Hz - 200 kHz, - 0.5 dB ▪ Gain: 0 - 85 dB ▪ Inputs

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