RME Audio | Micstasy | Micstasy - Midisoft

8-Channel Full Range 192 kHz Preamp / AD converter
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
“Sensational Sound.
Unique ease of use.
... one of the best
preamps we´ve
ever tested.”
Autoset. Some preamps feature limiters in order to prevent an overload,
Professional Audio Magazin
And the gain can still be changed manually.
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
▪▪ 85 dB gain range
▪▪ High-end circuitry with 4 relays per channel,
perfect protection from overload with no degradation of the audio
▪▪ Super-low-noise microphone front end
signal, which does not have to pass any additional electronic circuitry.
▪▪ Symmetrical Super-Low THD Lo Cut filter, 18 dB/oct
▪▪ Balanced front panel line input on each channel
dBu up to +30 dBu. The analog outputs can be set to a max. level of +27 dBu. The amplified signals are also
Example: In an orchestral recording session, the user sets all channels to
available at the analog outputs for passing them on, making an expensive splitter box on stage obsolete. The
60 dB gain and asks the conductor to let the orchestra play fortissimo.
Micstasy can be used analog (Mic/Line In to Line Out) and digital (Mic/Line In to Digital Out), with both signal
AutoSet will automatically adjust the levels by reducing the gain. In
paths operating simultaneously. The options, Phantom Power (+48 V), Phase, Lo Cut, M/S-encoding (digital
AutoSet mode a “threshold” can be set to define an overhead of -1, -3,
only), Input Selection, Hi-Z and AutoSet can be switched for each channel individually.
-6, or -12dB. Additionally, a special downlink function allows to group
▪▪ Single, ganged or all-relative gain control
channels for AutoSet mode (e.g. for Stereo- or Surround-Microphone
▪▪ Minimized noise at the analog outputs when powering
Low Latency. The Micstasy uses high-class AD converters, offering exceptional Signal to Noise and distortion
systems). Manual gain adjustment thus becomes obsolete most of the
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
MADI. The I64 MADI Card provides the Micstasy with a 64-Channel
in further reducing the latency in the computer-based recording studio. At DS and QS the added latency can
MADI input and output. Coaxial and optical output operate in parallel
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.
the device up or down
▪▪ Current device configuration storable to 8 presets
▪▪ Full remote controllability
I64 MADI Card features an optical as well as a coaxial MADI input and
▪▪ Automatic gain reduction when AutoSet mode is active;
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
(up to 8). Such a way of cascading is also possible between Micstasy
Clock. All settings are stored when the unit is switched off. RME’s SteadyClock guarantees excellent clock
Intelligent Clock
and other RME MADI devices, like the ADI-8 QS.
quality in any situation. Due to the highly efficient jitter reduction, the Micstasy’s AD converters operate
Furthermore the I64 MADI Card provides the ability of 8 channels being
independently from the quality of the external clock signal, as if they are working with internal clock all the
used as digital return path, sending audio via MADI to the Micstasy’s
time - guaranteeing a prestine sound quality! Additionally Intelligent Clock Control will retain the last valid
I64 Option Slot
ADAT and AES outputs. For example stage and studio monitors can be
sample frequency in case of a loss of the input signal.
fed digitally from the Micstasy. On stage the use of an additional D/A-
Remote Control. One of Micstasy’s outstanding features is its full remote controllability. All functions can be
converter (e. g. ADI-8 DS) might be necessary.
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.
Hold function
▪▪ M/S Encoding (digital only)
provides serial pass-through capability from one Micstasy to the next
24 Preamps
▪▪ LED level display with 13 LEDs per channel and Peak
to the AES/EBU and ADAT output, therefore deliver the same data. The
MIDI Remote
▪▪ Hi-Z front panel instrument input on each channel
adjustable headroom of 1, 3, 6 or 12 dB
For technical specifications please continue on next page
Micstasy 25
OctaMic II
Micstasy continued
8 x Analog line/instrument inputs
8 x Channel strip
50 dB gain range and Hi-Z option.
Works with balanced and unbalanced
TRS and TS plugs.
Level meter with Peak hold function.
for direct access to all functions.
Status LEDs for all channel functions.
Analog outputs reference level and
remote mode controls.
I64 MADI Card (optional)
Used to remote control and
transmit MIDI data via MADI.
Coaxial and optical MADI I/O
8-Channel 192 kHz Preamp / AD converter
Multifunctional rotary controller
8 x Analog line outputs
Eight balanced XLR line outputs
with up to +27 dBu level.
he OctaMic II provides 8-Channel 192 kHz / 24 bit AD conversion with eight hi-class microphone and line preamplification channels, featuring a combination of sophisticated components and approved RME technology.
Lowest distortion, excellent signal to noise ratio and perfectly linear frequency response transmit and amplify the
microphone signals truly unchanged.
OctaMic II offers 8 balanced XLR mic / line inputs via Neutrik XLR/TRS combo jacks. Each channel contains switches
for 48V phantom power, a low cut filter and phase reversal. Amplification can be set between 6 and 60 dB. LEDs
for signal, clip, and activated phantom power give a complete overview on the unit’s status. When the special Clip
Hold mode is activated, any detected clipping will cause the corresponding LED to flash once per second. With this,
the user gets a long-term peak detection, and no longer needs to constantly watch the LEDs. At the same time
momentary overloads are still displayed correctly. The balanced line level output signal is available at the back of
the unit via 8 stereo TRS jacks.
Three in one:
microphone preamp,
line signal preamp,
8-channel AD
converter for different
analog sources.
The specially developed, internal hi-performance switch mode power supply lets the OctaMic II operate in the
range of 100V to 240V AC. It´s short-circuit-proof, has an integrated line filter, is fully regulated against voltage
fluctuations, and suppresses mains interference. The 8-channel AD conversion of the OctaMic II operates at up to
Word Clock I/O
Provide the same signals as
the AES/EBU outputs, but in
ADAT format.
The 25-pin D-sub connector provides four
outputs (AD signals) and one input for clock
synchronization. Wired in the widely spread
Tascam standard.
8 x Analog Microphone/Line inputs
192 kHz. The digitized signal is available simultaneously at the double ADAT output (S/MUX, up to 96 kHz), and
Balanced XLR full range inputs
with 85 dB gain range.
at a DB-25 connector (4 AES/EBU outputs, up to 192 kHz). The digital part can be clocked internally (master) and
externally via Word Clock, AES/EBU or SPDIF. RME’s outstanding SteadyClockTM ensures perfect AD conversion, as
jitter on the external sync sources is nearly completely removed.
All settings are done via DIP switches on the back. Analog outputs and both digital outputs operate fully
simultaneously. The choice of reference level affects the analog outputs only, the signal/clip indication and the AD
8 x Mic / Line Preamp Input
(XLR/TRS Combo)
8 x Line Output (TRS bal.)
conversion will react only to the Gain pots.
8 x AD converter
(up to 192 kHz)
▪▪ SNR: 129 dB EIN @ 150 Ω
A/D conversion
▪▪ THD: < 0.006% @ 30 dB gain
▪▪ Dynamic AD: 120 dBA
▪▪ Frequency response: 5 Hz - 200 kHz, - 0.5 dB
▪▪ THD AD: < -110 dB (< 0.00032 %)
▪▪ Gain: 0 - 85 dB
▪▪ THD+N AD: < -104 dB (< 0.00063 %)
▪▪ Inputs mic/line rear: XLR, servo-balanced, full gain range
▪▪ Crosstalk AD: > 130 dB
▪▪ Analog input level: -55 dBu - +30 dBu
▪▪ Sync sources: AES, Word Clock, internal, optional MADI
▪▪ Inputs TRS jacks front panel: servo-balanced, max. +24 dBu,
▪▪ Sample rates: 44.1, 48, 88.2, 96, 176.4, 192 kHz,
▪▪ Variable (Sync/Word Clock)
Impedance switchable: 10 kΩ / 470 kΩ
▪▪ Outputs: XLR balanced, up to +27 dBu
▪▪ Frequency response -0.1 dB: 5 Hz – 21.5 kHz (sf 48 kHz)
▪▪ Analog output level: typical +24 dBu, +19 dBu, +13 dBu
▪▪ Frequency response -0.5 dB: < 5 Hz – 44.8 kHz (sf 96 kHz)
▪▪ Power supply: Internal switching power supply
▪▪ Frequency response -1 dB: < 5 Hz – 70 kHz (sf 192 kHz)
100 V - 240 V AC, 60 Watt
▪▪ 8 bal. XLR/TRS Mic/line inputs with 54 dB gain range
▪▪ Input impedance: XLR 2 kOhm, TRS 5 kOhm
▪▪ Line Out: 1/4” TRS (6.3 mm stereo jack), servobalanced
(S/MUX, up to 96 kHz)
4 x AES/EBU Output
▪▪ Phantom power: +48 Volt in every channel
(D-sub, up to 192 kHz)
▪▪ Maximum output level: +21 dBu
▪▪ Internal wide range switching power supply
1 x AES/SPDIF Sync Input
▪▪ Output impedance: 75 Ohm
100-240 V AC
▪▪ Output level switchable Hi Gain / +4 dBu / -10 dBV
▪▪ AD conversion SNR: >110 dB(A)
▪▪ Signal to noise ratio (SNR): 129 dB EIN @ 150 Ohm
▪▪ Supported sample rates: 28 kHz - 200 kHz
▪▪ THD: < 0.0005 % @ 30 dB Gain
▪▪ THD: < 0.0003 %, < -110 dB
▪▪ Large frequency range (200 kHz) with special EMI
▪▪ Sync Sources: AES/EBU (also SPDIF coaxial),
input filtering
▪▪ Hi-pass filter: 80 Hz, 18 dB/oct.
2 x ADAT Output
▪▪ Analog input level: from -40 dBu up to +21 dBu
▪▪ Frequency response -0.5 dB: 5 Hz - 200 kHz
▪▪ Dimensions (WxHxD): 483 x 88 x 200 mm
26 Converters
Word Clock, internal
▪▪ SteadyClockTM ensures best sound quality even with
jittery external clocks
OctaMic II 27
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