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.
Micstasy is an 8-channel hi-end mic/line preamp 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. Just passing on the amplified signals replaces the need for a splitter box on stage. The device is fully remote-controllable via MIDI or MIDI over MADI.
The most important features of the Micstasy:
In a standard 19" box with 2 unit height the device offers numerous extraordinary features like Intelligent Clock Control (ICC), SyncCheck®, 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. The device can thus be remote controlled directly from Pro Tools.
RMEs 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 (ICC) will retain the last valid sample frequency in case of a loss of the input signal.
In the Micstasy RME uses a high-class AD-converter 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 soon to be released 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.
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 data.
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 circuits.
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.
|I64 MADI CARD|
The I64 MADI Card provides the Micstasy with a 64-channel MADI input and output. Coaxial and 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 through 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.
|TECHNICAL SPECIFICATIONS - EXCERPT|
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
More details can be found in the Micstasy manual!
See your local distributor's website for current price information.
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