RME Micstasy

RME 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


Features

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, 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 pristine sound quality! Additionally Intelligent Clock Control (ICC) will retain the last valid sample frequency in case of a loss of the input signal.
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 theADI-8 QS, a matching DA-converter with only 5 up to 10 samples delay will turn 'analog digital monitoring' into real analog-style monitoring.