RME

The Fireface 802 FS is a highly integrated pro audio solution and fully-fledged studio, all in a 19" housing.An interface designed for users who don't want to compromise on sound, stability and ultra-low latency withstability and extremely low latency with USB 2.0 and who long for an unrivalled professionalUnrivalled range of functions.A newly developed analogue and digital board with 60 audio channels, high-end microphone preamps, reference class convertersReference class converters, a complete effects section and operation at up to 192 kHz. Active SteadyClock FS jitter suppression,DC-coupled outputs for all 8 analogue line outputs, individually switchable reference levels for all inputs and outputs, stand-alone functionOutputs, stand-alone functionality, DigiCheck metering and analysis toolbox as well as identical operation onWindows PC and Mac.The range of functions also includes the optional Class Compliant mode (full 30 channel I/O with up to 192 kHz) andoperation with TotalMix FX for iPad, RME's app for complete control of the Fireface 802 FS from the iPad, without a computerComputer. The alternative CC mode can be activated via a recessed button directly on the back of the interfacebe activated. For the control of TotalMix FX and control in stand-alone and class compliant modeUsers will now find a USB-A port for direct connection of the optionally available ARC USB.

Four years ago, RME once again demonstrated its unique commitment and technical expertise in audio technology, driver development and mechanical manufacturing quality with the Babyface Pro. This portable high-end interface is precision-machined from a block of aluminium and incorporates newly developed analogue and digital circuitry. Thanks to innovative power-saving technology, it offers outstanding sound quality without compromising on level, signal-to-noise ratio or distortion values.

The M-1620 Pro converts 16 analogue line levels to and from digital - sources can be separate coax and SFP MADI, ADAT or Dante. In addition, two headphone outputs are available for monitoring. All components are housed in a 19" chassis with a newly designed front panel that combines individual level meters with a display. An indispensable addition for immersive audio installations, but also a versatile extension for any audio network.

HDSPe RayDAT is a multi-channel, multi-format and multi-task tool in outstanding professional quality, the ideal solution from recording to final mastering. Thanks to separate hardware and additional record/playback channels, SPDIF (RCA) and AES/EBU (XLR) can be used simultaneously for the first time. RayDAT offers no less than 4 x ADAT I/O (optical), SPDIF I/O and AES/EBU I/O. In total, no less than 36 input and output channels each.Two MIDI I/Os and TotalMix, RME's unrivalled DSP-based real-time mixer with hardware-calculated level meters and complete MIDI remote controllability complete the features. HDSPe RayDAT naturally also supports the use of the optional TCO for synchronisation to timecode (LTC/video).Internal ADAT inputs and outputs allow up to two optional TEB (TDIF Expansion Board) to be connected, providing up to two TDIF ports directly in the computer.

The new Digiface AES is a professional, bus-powered USB 2.0 interface with 14 inputs and 16 outputs, which, in addition to the digital I/Os, has 2 analogue microphone/line universal inputs and 4 analogue outputs (2 XLR, one jack plug). With its excellent digital connectivity, SteadyClock FS, full stand-alone operation and built-in parametric EQ, the Digiface AES is the perfect all-in-one solution for recording and playback of digital and analogue sources, as well as flexible playback/monitoring via TotalMix FX.

RME presents the MADIface XT II, a 394-channel 192 kHz USB 3.0 audio interface with comprehensive connection and control options for live and studio use. Compared to its predecessor MADIface XT, the MADIface XT II features updated digital and analogue circuitry and surpasses the first generation with significantly improved analogue and digital performance.At the time of its release, the MADIface XT was the world's first USB 3.0 audio interface - and impressed with its combination of an extremely high channel count, comprehensive connections and a compact desktop housing. With two practical mic/line preamps (XLR/TRS combo inputs), two balanced XLR line outputs, a stereo line headphone output, a variety of digital signal options (MADI coaxial and optical, MIDI/AES, word clock) and an additional PCI Express connection, the MADIface XT left nothing to be desired in terms of connectivity.New analogue best values:The successor MADIface XT II maintains this successful formula and surpasses the signal values of its predecessor in numerous areas. Among other things, the MADIface XT II impresses with a higher signal-to-noise ratio and a lower THD value during AD conversion. Furthermore, the maximum balanced line output level of the XLR line outputs has been increased from +15 dBu to +24 dBu. At +19 dBu, the stereo headphone output of the MADIface XT II also delivers significantlyoutput level and, with an output impedance of 1 ohm, significantly more power than its predecessor. All outputs also have several switchable level options.New digital board:On the new digital board, the previous analogue mini-DIN socket for remote control of individual functions has been replaced by an ARC USB remote port, which enables comprehensive control of the MADIface XT II with the optional ARC USB. The MADIface XT II also offers the Room EQ known from the Fireface UFX III with nine parametric bands for use in surround setups for up to 20 mono output channels.Clocking in the femto range:With the latest SteadyClock FS, the MADIface XT II features RME's latest clock and jitter suppression technology. Based on a femto clock, SteadyClock FS reduces the inherent jitter of the MADIface XT II to an absolute minimum and efficiently filters clock jitter as low as 1 Hz.New hardware:The new MADIface XT II focusses on USB 3.0, as PCIExpress can no longer be used externally. Among other things, the Class Compliant mode has been significantly upgraded in the new device, as all 394 channels can now be transmitted simultaneously without a driver. In addition, there are various formats and settings for the channel sequence to optimise the use of Class Compliant.

With the ADI-6432 RME offers a 64-channel MADI from/to AES converter. A typical application is the use of two ADI-6432 as digital multicore, or as AES/EBU frontend for the Hammerfall DSP MADI PCI card. Up to 192 kHz at 24 bit are supported. The ADI-6432 offers sufficient space for all sockets and control elements on 2 height units.The compact device with 19" width and 2 U is used for format conversion from MADI to AES and back. MADI offers 64 channels of 24-bit audio at up to 48 kHz sample rate, 32 channels at up to 96 kHz, and 16 channels at up to 192 kHz. The transmission takes place via a single line, either coaxial (BNC) or via an optical network cable. In both cases, cable lengths of well over 100 metres can be achieved. The AES channels are provided via 32 AES/EBU inputs and the same number of outputs on Sub-D sockets. The ADI-6432 understands the MADI formats 56 channels, 64 channels as well as 48k and 96k frame at the input, and can also generate these formats at the output as required.

A lightweight, mobile audio interface based on the proven Digiface Dante, equipped with a RAVENNA module developed by DirectOut. Combined with everything RME is famous for: USB 3, MADI, TotalMix FX and outstanding options in both USB and standalone mode.

The RME 12Mic is a remote-controlled 12-channel microphone preamplifier with uncompromising A/D conversion, integrated AVB and MADI connectivity and a host of features that make it a perfect companion for any professional recording.The first RME preamplifier for audio networks:The RME 12Mic features twelve microphone and line inputs with uncompromising studio-quality digital conversion, remotely controllable gain levels, integrated MADI and AVB connectivity and a host of additional features - the perfect companion for any professional recording setup.Twelve transparent microphone preamps for exceptional transducer performance:The microphone input channels without PAD switch offer up to 75 dB gain for signals up to +18 dBu. On the transducer side, the 12Mic boasts an outstanding signal-to-noise ratio of 121.2 dB(A) on all channels. The twelve XLR connectors on the front process microphone and line signals, the first four of which are designed as combo connectors for TRS plugs and support the connection of high-impedance instrument signals (Hi-Z).MADI & ADAT for maximum flexibility:MADI inputs and outputs are available in coaxial and optical versions (via an SPF module) and support the daisy-chaining, merging and conversion of MADI signals with extremely low latency. The three optical ADAT outputs enable the transmission of up to 24 channels in single-speed mode (e.g. a combination of microphone inputs, MADI and AVB signals) or up to 12 output channels at 96 kHz sample rate and ensure compatibility with a wide range of audio interfaces. In addition, the ADAT ports can also be used to send monitor mixes from AVB or MADI input signals to external DA converters and/or headphone amplifiers.Two fully redundant network ports:For the first time RME presents an AVB device with two fully redundant network ports based on MILAN guidelines. The RME AVB Core consistently implements the IEEE standards for audio streaming, device detection and control. In this way, RME devices are recognised by any AVB controller and can be comprehensively controlled, making manufacturer-specific control protocols a thing of the past. Every signal arriving at the 12Mic can be streamed over a network with fixed latency and guaranteed bandwidth, without having to resort to a switch.

The M-1620 Pro converts 16 analogue line levels to and from digital - sources can be separate coax and SFP MADI, ADAT or AVB. In addition, two headphone outputs are available for monitoring. All components are housed in a 19" chassis with a newly designed front panel that combines individual level meters with a display. An indispensable addition for immersive audio installations, but also a versatile extension for any audio network.

OctaMic II offers 8 balanced mic / line inputs via a combi socket. Each channel has individually switchable phantom power (48V), low-cut filter and phase rotation. The gain can be adjusted within a range of 6 to 60 dB. When the special clip hold mode is activated and an overload is detected, the respective clip LED starts to flash once per second. This peak monitoring mode saves the user from having to constantly look at the clip LEDs. Nevertheless, all acute clipping is still displayed correctly.At the rear, the microphone signals are available at balanced line level on 8 stereo jack sockets. There is also a 25-pin D-sub socket. This allows a direct and lockable connection to RME's ADI-8 PRO and DS 8-channel converters via a single cable.

The DPS-2 is an exceptional linear power supply unit which, in addition to its outstanding technical data, impresses with itsFeatures and practical functions. For example, the compact device hastwo outputs, each with different filtering. The housing design and front panel of the DPS-2is based on the ADI-2 series and accommodates RME's innovative circuit design in only half the rack width.The Linear output is a classic DC output, but is equipped with multi-stage passive and active filters, including a 30,000 kHz filterincluding a 30,000 F capacitor bank, a ferrite choke and an active output filter with hybrid voltage regulatorHybrid voltage regulator.The second output is based on the filter technology developed by RME. For this purpose, the signal from thepre-filtered linear output is additionally processed with highly efficient active filters to produce an exceptionally cleanDC output signal with only a few micro-volts of interference. In addition, the output featuresSensor technology that measures and regulates the output voltage directly at the DC plug of the special DC cable suppliedregulated. The result is an extremely low output impedance and load regulation, which ensures a clean output voltage ofOutput voltage of +12.0 V at 2.5 A and almost completely eliminates load-dependent voltage drops.Thanks to the additional use of a two-stage HF mains filter and a DC mains filter on the AC side, theDPS-2 enables optimum performance without interference noise. The 60 VA audio toroidal transformer also contributes to this with itsadditional insulation winding and the magnetic shielding tape guarantees absolutely hum- and noise-free operation in any situationin any situation.The ground lift switch can be used to disconnect the earth of the DC output from the earthing contact if required, for example to eliminate ground loops. This does not affect safety, as the earthing contact of the mains cable is still firmly connected to the housing and the earthing terminal. In addition, the DPS-2 has an earthing screw (GND screw terminal) to earth other devices or to use an earthing other than Schuko for the audio power supply. For a quick overview of the most important operating statuses and faults (existing input and output voltage, overload, undervoltage, short circuit), the DPS-2 has a short-circuit indicator,Short circuit), the DPS-2 has two multi-coloured front LEDs. An AutoDark mode can be activated via a recessed push switch on the front of the device, in whichmode, in which the LEDs only light up when the DPS-2 is switched on and when errors occur.