RME Micstasy Overview
Micstasy is an 8-Channel hi-end mic/line
preamp and AD-converter combining typical RME features with a number of
previously unseen features. It can be used analog (Mic/Line In to Line Out) and
digital (Mic/Line In to Digital Out), with both signal paths operating
simultaneously. Special highlight: the device is fully remote-controllable via
MIDI (also
MIDI over MADI).
The
Micstasy's innovative concept allows for amplification and digitization of ALL
analog signal sources. Be it high-level stage signals, typical studio signals,
lower level and high-impedance instruments, or dynamic, condenser or ribbon
microphones: Micstasy understands them all - in a way that is simply thrilling.
The signals
amplified by the Micstasy are available at the analog outputs for passing them
on, making an expensive splitter box on stage obsolete. All functions can be
remote controlled via
MIDI and
MIDI over MADI, allowing the device to be placed near the
microphones, ensuring highest sound quality.
Adding the
optional MADI Card results in even more options. The I64 MADI Card provides
serial pass-through capability from one Micstasy to the next (up to 8). All up
to 64 audio signals are then available at the last device on one single line.
Such a way of cascading is also possible between Micstasy and ADI-8 QS.
Overview of
the Micstasy's most important features:
- 8 balanced
XLR mic/line inputs with 85 dB gain range
- Analog
input level from -56.5 dBu up to +30 dBu
- High-end
circuitry with 4 relays per channel, super low-noise microphone front-end
- Near
click-free gain changes in steps of 0.5 dB
- Large
frequency range (200 kHz) with special EMI input filtering
- 8 balanced
TRS line / instrument inputs with Hi-Z option
- 8 balanced
XLR line outputs, maximum level +27 dBu
- 4 x AES/EBU
Out via D-sub, 8 channels @ 192 kHz
- 2 x ADAT
Out, 8 channels @ 96 kHz (SMUX and SMUX4)
- Optional
MADI I/O (I64 MADI Card) with serial cascading and digital return path
- Symmetrical
hi-pass (Lo Cut) with super-low THD, 18 dB/oct
- LED level
meter with 13 LEDs per channel
- M/S
de-/encoding for the digital output
- AutoSet:
Automatic gain reduction with multiple linking
- Current
state can be stored to 8 user presets
- Fully
remote controllable
RME Micstasy Features
In a
standard 19" box with 2 unit height the device offers numerous
extraordinary features like , ®, SteadyClock, TotalGain,
AutoSet, MIDI over MADI, and remote control via MADI and MIDI.
The
technologies known from other RME products like SyncCheck® ensure 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.
The
Micstasy can be fully remote controlled
and configured via
MIDI, and all status displays can be queried through
MIDI. Each Micstasy can be given a
separate ID, allowing separate remote controllability of various devices with
only one
MIDI channel. The
MIDI remote is also compatible to
Digidesign's Pro Tools system, Yamaha's M7C and PM5D. The manual further shows
how to remote control the Micstasy from the DM-1000 and DM-2000.
RME's
SteadyClock(TM) 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 (ICC) will retain the last
valid sample frequency in case of a loss of the input signal.
RME Micstasy Low Latency
In the
Micstasy RME uses high-class AD-converters from Cirrus Logic, offering
exceptional Signal to Noise and distortion figures. But the biggest difference
to all other ADCs out there is its 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.
RME Micstasy AutoSet
Some
preamps include limiters in order to prevent clipping, especially of the A/D
converter stage. Such a circuitry is not feasible for the Micstasy, because it
would spoil the mic preamp's excellent technical specifications.
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.
In the
Setup menu, the threshold level beyond which the gain will be reduced can be
adjusted in four steps (-1, -3, -6, -12 dBFS). Any change of gain will be shown
immediately on the GAIN displays. And with AutoSet activated, the gain can
still be changed manually.
RME Micstasy I64 MADI Card
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. The input is
switched automatically, according to where a valid input signal is detected.
Full redundancy is ensured by the automatic input switching, immediately
changing to the other input in case of loss of the input signal.
The MADI
input will operate as an optional clock source (Clock section, OPTN) as well as
a thru-input. Since each Micstasy uses only 8 channels, up to 56 channels can
be passed through. This technique is used to serially cascade several
Micstasys. Incoming MADI data is passed through unchanged, only one block of
eight channels is replaced. This allows up to 8 devices to be connected
serially. All 64 combined channels are available at the last device's MADI
output.
With an
installed I64 MADI Card the Micstasy can be remote controlled via MADI. At the
same time
MIDI data are transmitted via MADI.
When
multiple devices are connected serially, the MADI I/O of each Micstasy causes a
delay of 3 samples. Therefore at the MADI output of the last device, the data
of all upstreamed devices are delayed. The problem of this offset is solved by
the function Delay Compensation.
Using 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.
The MADI output continues to carry the analog input signals and the fed-through
input data.
RME Micstasy Tech Specifications
- Frequency response
-0.1 dB: 20 Hz - 100 kHz
- EIN @ 30 dB Gain
@ 150 Ohm: 122.3 dBu
- EIN @ 40 dB Gain
@ 150 Ohm: 126.5 dBu
- EIN @ 50/60/70 dB
Gain @ 150 Ohm: 127.4 dBu
- THD+N @ 30 dB
Gain: < -100 dB, < 0.001 %
- Signal to Noise ratio AD (SNR) @ +30 dBu: 115.2 dB RMS unweighted, 118.5 dBA
- Signal to Noise ratio AD (SNR) @ +21 dBu: 112.7 dB RMS unweighted, 116 dBA
- Signal to Noise ratio AD (SNR) @ +13 dBu: 110 dB RMS unweighted, 113 dBA
- Sync sources:
Internal, AES, word, Option (MADI)
- Sample frequencies:
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz, variable (external
clocks)
- Sample rate range:
MADI: 32 - 192 kHz, word clock: 27 kHz - 200 kHz, AES: 28 kHz - 200 kHz
- Jitter: Typical
< 1 ns for internal, word clock, AES and MADI input
- Jitter suppression: >30 dB (2.4 kHz)
- Jitter sensitivity:
all PLLs operate error-free even at 100 ns
- Power supply:
Internal switching mode PS, 100V - 240V AC, 60 Watt
- Dimensions:
(WxHxD) 483 x 88 x 200 mm
- Warranty: 2 years
RME Micstasy Connectivity
- 8 x Analog
Input Preamps (XLR/Line with 85 dB gain range)
- 8 x Analog
Output (XLR)
- 4 x AES/EBU
Out (8 channels @ 192 kHz)
- 2 x ADAT
Out (SMUX and SMUX4)
-
MIDI I/O
- Word clock
I/O
- Optional:
MADI I/O (I 64 MADI Card)
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RME Products Review / See
All ZenPro Audio Reviews Here: Review Page
I have used RME PCI cards and
breakout boxes and converters over the years, and have never seen an issue with
reliability or stability. Overall I think the most stable PC drivers in the
industry would have to have RME among them: I mean this stuff just works…and
works…and works. As Vince from Sham-Wow says, “you know the Germans make good
stuff”. In this case I would certainly say it is proven true.
Digital connectivity is never easier
than choosing the right RME product, from ADAT to SPDIF to AES to TOSLINK to
MADI to Wordclock, they really have it all. Latency is virtually non-existent
thanks to ultra low latency drivers and on board DSP power that takes the load
off your computer. “Totalmix”, RME’s internal routing matrix is INCREDIBLE. It
took me a while to wrap my brain around it but once I did, I realized I can
send anything anywhere at anytime with no noticeable latency at all. Multiple
headphone mixes and splits? No problem, RME is on it with Totalmix.
The “Steadyclock” wordclock
technology is also just awesome stuff. I have witnessed this clock snap those 1’s
and 0’s in line on many a device and it always made an improvement when it was
the master. Many RME devices have Steadyclock as standard, it can make a real
difference. The A/D and D/A conversion of RME is clean and neutral for the most
part, not huge or small or anywhere in between, but pretty true to the source
overall. An RME converter will never get in the way of a good recording.
Conclusion: No matter the connection
you need to make, RME has it covered. My personal experience has been glitch
free and for that reason I am proud to be an authorized RME dealer.
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