The device combines excellent analog circuit design with low latency AD/DA converters. The compact 19”/1U device has a host of features, including analog and digital limiters, 4 hardware reference levels up to +24 dBu, AES/EBU and ADAT I/O up to 192 kHz, optional MADI I/O, remote control via MIDI, remote digital input trimming for full input calibration, remote volume control for all 8 analog outputs, either separately, globally, ganged and much more.

The analog inputs and outputs feature the same circuitry as RME’s well-established ADI-8 series, ensuring excellent signal to noise ratio and low THD. On the digital side, SteadyClock, RME’s unique clock technology and jitter suppression, further enhances the list of features, ensuring the best sound quality regardless of the quality of the reference clock signal. The QS uses the latest AD- and DA-converter circuits with up to 192 kHz, with S/N ratios of 120 dBA. New digital filters reduce the conversion delay from over 40 samples to just 8 samples.

In addition to 2 ADAT I/Os that support up to 192 kHz (S/MUX), the device also features a serially built-in 25-pin AES/EBU interface for all inputs and outputs. The ADI-8 QS features RME’s latest technological achievement – the I64 expansion slot that makes the device even more flexible. The slot can host the I64 MADI card for direct integration into MADI systems. All interface options can be used simultaneously under all conditions; analog (balanced TRS and/or D-Sub), ADAT, AES/EBU and MADI. Other typical RME features like Intelligent Clock Control (ICC), SyncCheck, and SyncAlign have also been implemented.

Within the ADI-8 series of converters, the full remote controllability of the QS is a novelty allowing the device to be placed anywhere on stage or in the studio as a remote controllable “SuperStageBox,” with full access from the control room or FOH mixer.

In combination with RME´s Micstasy or other RME MADI interface devices, designing a front end system becomes easier and more flexible now. A single MADI cable can transfer up to 64 channels of AES/EBU audio. Multiple ADI-8 QS or Micstasys equipped with I64 MADI cards can be serially connected with one MADI cable per unit and configured to use their individual channels within the MADI stream. AutoID and Delay Compensation ensure sample-aligned operation and easy setup when designing such setups. Up to 8 units can thus be combined into one single 64-channel MADI line.

Features Overview:

* 8-channel AD converter, fully symmetrical design, 120 dBA S/N
* 8-channel DA converter, double balanced output, 120 dBA DA
* Low latency conversion: only 8 samples of delay!
* 2 ADAT optical inputs, 24 bit, with Bitclock PLL, up to 192 kHz
* 2 ADAT optical outputs, 24 bit, fully compatible, up to 192 kHz
* 8 AES/EBU I/Os, full channel count up to 192 kHz, 24 bit, connected via D-sub
* 8-channel Digital Input Trim over a range of 6 dB
* Full remote controllability via MIDI and MIDI via MADI
* All settings are stored permanently
* Included Remote Control for store/recall of presets, volume and dim
* I64 Option slot

The ADI-8 QS is available in the standard or also as the ADI-8 QS M MADI loaded version with the same feature-set and built-in I64 MADI card offering an attractive price advantage.

ADI-8 QS: Europe estimated net retail price € 1.900,- ; US retail price $ 2648.-

I64 MADI Card: Europe net retail price € 540.- ; US retail price $ 748.-

ADI-8 QS M (MADI Version): Europe estimated net retail price € 2.200.-; US retail price $ 3048.

The HDSPe PCI Card and the HDSPe MADI card are newly engineered PCI-Express versions of their PCI successors. Still based on RME’s famous Hammerfall DSP series features and quality the new PCI-Express core ensures full compatibility and maximum performance with the latest high-speed serial bus technology found in all newer motherboards and computers. Furthermore RME´s FPGA core ensures full update capability via RME’s Secure Flash technology, for further hardware and driver updates.

The HDSPe PCI Card is a short length PCIe x1 card that provides RME´s own high-speed serial audio data bus, as used in the Multiface, Multiface II, Digiface and RPM. These systems are owned and used by ten thousands of audio professionals around the planet. If users are looking for a no-compromise high-speed audio solution combined with ultimate compatibility, these devices are still state of the art. The Multiface II and Digiface solutions combine some of the highest possible audio transmission rates and low-latency features you can realize with card-based interface techniques, faster than most serial solutions; combined with flexible connectivity. Artists and studios all over the world rely on these combinations. With the HDSPe PCI Card the further use of the existing range of RME´s I/O boxes in next generation computers is secured. As a special addition, the new HDSP PCIe series is prepared to support the use of the TCO, RME’s Time Code Option, with Multiface/II and Digiface.

The HDSPe MADI card rounds up RME´s Premium Line MADI products as it is now the interfacing flagship to the MADI world. The HDSPe MADI card offers a powerful 128 I/O-channel computer connection. It supports 56- and 64-channel modes as well as Single and Double Wire formats. All 64 inputs and 64 playback channels can be routed and mixed independently to 64 physical outputs. The HDSPe MADI turns every “state of the art” computer into a powerful DAW (Digital Audio Workstation). The HDSPe MADI offers the most powerful router/mixer implemented on a single PCI-Express card ever. Compared to the existing standard PCI MADI card, the new PCI-Express version offers several advantages, like support for higher sample rates than 96 kHz, TCO support and lower latency.

Both cards come with drivers for Windows XP (multi-client operation of MME, GSIF and ASIO 2.0) and brandnew Windows Vista drivers. Apple users are perfectly served with Power PC and X86 (Intel) drivers providing Core Audio and Core MIDI support.

The HDSPe PCI Card will be available worldwide from March 2007.

The HDSPe MADI Card will be available from April 2007.

The pricing will be slightly higher compared to the standard PCI card products.

Micstasy features reference quality converters and combines a number of typical RME features with a number of groundbreaking innovations. With Micstasy, not only conventional analog microphone preamps and AD-converters are a thing of the past – a lot of applications will change. In short, Micstasy is a multi-analog-input device for live, studio or installation; right up to no-compromise mobile recordings – making also surround recordings a breeze!

Micstasy can be used as an 8-channel “state of the art” mic preamp (Mic/Line In to Line Out) and a digital preamp/converter (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Just passing on the amplified signals replaces the need for a splitter box on stage. Micstasy’s impressive 85dB gain range, digitally controlled in steps of 0.5dB, allows connection of all conventional analog studio signals within a range of -55dBu up to +30dBu, be it line, instrument or microphone signals.

A TRS input on the front complements the rear XLR connector. The front input receives line level signals and can be switched to a Hi-Z mode for use with instruments. Micstasy uses RME’s renowned SteadyClock technology to guarantee perfect analog to digital conversion in any clock state and independent from the external clock’s quality. The AD-converters used excel with SNRs of 120 dBA and latencies as low as 26µs (0.026ms).

Usually 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. However, as the gain is controlled digitally, the Micstasy can set it automatically, with a user-definable headroom of -1, -3, -6, or -12dB. RME intentionally decided to not raise the gain, AutoSet only reduces it. In an orchestral recording session, the user sets all gains to a high value and asks the conductor to let the orchestra play fortissimo. AutoSet will automatically adjust the gains by reducing them whenever the pre-defined headroom is exceeded.

Micstasy is fully remote-controllable via MIDI or 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.

The Micstasy is also MIDI remote compatible to Digidesign’s Pro Tools system. Supported commands from within Pro Tools: Gain, PAD, +48V, Phase, Low Cut, input front or rear, Hi Z for front.

RME´s new I64 Option Slot enables total integration of the unit in a MADI environment in combination with the I64 MADI card. More interface options are under development enabling direct connection to other interface standards.

With the new Micstasy, designing a front end system becomes easier while heavy trouble-prone analog multicores are history. A single MADI cable can transfer up to 64 channels of AES/EBU audio. Multiple Micstasys equipped with I64 MADI cards can be serially connected with one MADI cable per unit and configured to use their individual channels within the MADI stream. AutoID and Delay Compensation ensure sample-aligned operation and easy setup when designing such setups. Up to 8 Micstasys or RME´s new ADI-8 QS line converter units can thus be combined into one single 64-channel MADI stream.

Micstasy is available as the standard Micstasy version with all A/D features or also as the Micstasy M “MADI ready loaded” version with full MADI functionality on top – ready bundled with the I64 MADI card – with an attractive price advantage.

Features Overview:

• 8 high-end mic preamps with digitally controlled gain of 85dB in steps of 0.5dB allow connection of all conventional analog studio signals. Micstasy reaches full scale level at -55dBu, but can also handle a maximum input level of +30dBu!
• 8-channel high-end line amplifier, XLR and TRS input, with digital gain control (0.5dB steps).
• 8-channel AD-converter with lowest latency and high SNR, thanks to CS5381 converters. The digital outputs deliver the same signal as the line outputs.
• Flexible multi-group ganging for multiple stereo up to surround usage
• Analog outputs: max. level approx +27 dBu
• Digital outputs: D-sub connector for 4 x AES/EBU up to 192 kHz (plus one AES input as sync source). Double ADAT for 8 channels@96 kHz
• Remote control via MIDI and MADI
• All settings are stored permanently. 8 more user presets available
• I64 Option slot

Micstasy is available worldwide.

Prices:

Micstasy: Europe net retail price € 3050.- ; US retail price $ 4199

I64 MADI Card: Europe net retail price € 540.- ; US retail price $ 748

Micstasy M (MADI Version): Europe net retail price € 3330.-; US retail price $ 4599.

Synthax Audio

The portable Fireface 400 is a newly designed product whose flexibility, functionality and performance sets it apart from other devices and sets new standards among 19-inch half-rack products in much the same way as its bigger brother has in the full 19-inch category.

The Fireface 400 is the only device in its category to offer active jitter suppression, additional stand-alone functionality, direct device operation, professional quality I/Os, and a 648-channel matrix router. And, everything is operational up to 192 kHz.

Included in the Fireface 400:

• Support for up to 192 kHz
• Two digitally controlled high-quality mic preamps
• Two balanced universal line/instrument inputs
• SteadyClock for maximum jitter suppression and clock refresh
• Simple stand-alone operation via display and rotary encoders
• TotalMix: 648-channel mixer with 42 bit internal resolution
• 54 level meters displaying peak and RMS, calculated in hardware
• Full mobility with reliable bus power support
• For use with Windows and on Mac

Thanks to the DSP-based mixers, all 18 input and playback channels can be routed and mixed to any of the 18 physical outputs. This makes the Fireface 400 an indispensable tool for monitoring, with up to 9 completely independent stereo sub-mixes possible. Copy/paste of routings, fader grouping and the unique matrix window represent just some of the other outstanding features. All mix functions can be remotely controlled via MIDI using any Mackie-compatible controller.

The 8 channels from the ADAT optical I/O can be used simultaneously with the analog channels. The coaxial SPDIF I/O is fully AES/EBU compatible (as always with RME) and can operate up to 192 kHz. The optical SPDIF, alternatively provided via the ADAT I/O, also operates up to 192kHz. Rounding off the Fireface 400’s feature set is a word clock in- and output (BNC), plus two low jitter, high-speed MIDI in/outs (using 5-pin DINs), culminating in a versatile, user-friendly product of the highest quality.

The Fireface 400 retails at Euro 899,- and USD 1199

More information is available at the RME site.