RME PREMIUM LINE Micstasy

Hi-end 8-channel remotable professional preamplifier with AD 24/192 converters - Optional I64 MADI card With Micstasy RME it offers a perfect combination of very high quality converters and professional preamplifiers that integrate all the typical innovative features of RME: in practice, in a single solution, multiple analog inputs for live or in the studio for professional quality multi-channel recording.
The Micstasy can be used as a microphone preamplifier (Mic/Line In -> Line Out) and as a preamp/converter (Mic/Line In -> Digital Out), with both signal paths active simultaneously. This means that Micstasy is also able to work as a splitter box on a stage simply by passing the amplified signal. With an impressive 85dB gain, digitally controlled at 0.5 dB intervals, Micstasy can connect to all conventional analog signals found in a studio with a range from -55dBu to +30 dBu, regardless of the type of signal that may be line, instrument or microphone.
A TRS jack input on the front panel completes the interfacing options along with the XLR connectors on the back. The front input receives a line signal and can be switched to Hi-Z mode to connect instruments. The Micstasy uses RME's well-established SteadyClock technology to ensure perfect analog-to-digital conversion in any mode, regardless of the quality of the external clock source. AD converters have an excellent SNR (signal to noise ratio) equal to 120 dBA and very low latencies such as 26µs (0.026ms).
Preamplifiers usually use a limiter to avoid overload, especially AD converters. This is not the case with the Micstasy, as the presence of a limiter would counteract the excellent technical specifications of the front end of a microphone. However, the gain is digitally controlled and the Micstasy can automatically set it with a customized headroom of -1, -3, -6 or -12dB.

RME has also decided to intentionally increase the gain, only the AutoSet function reduces it. In this way, for example, by recording an orchestra, with a selectable headroom, the user can bring all the gains to a high level and ask the conductor to play a 'fortissimo' without problems. The AutoSet function will automatically adjust the gains by making an attenuation whenever the default headroom is exceeded.
The Micstasy is completely remotable via MIDI or MADI, so the unit can be placed anywhere on the stage or studio, with total control from the mixer. This means that microphone cables can be relatively short, ensuring a high-quality signal and eliminating interference.
The Micstasy is also compatible with the MIDI Remote standard for Pro Tools; the commands supported by Pro Tools are: Gain, PAD, +48V, Phase, High Pass, front or rear input, Hi-Z for the front input.
With RME's new optional I64 slot, it is possible to integrate the unit into a MADI environment in combination with the MADI I64 card. Other cards are developed to offer a direct connection with other interfacing standards as well.
With the new Micstasy, designing a 'front end' system becomes much easier and the typical problems caused by analog multicore systems are now a thing of the past. A single MADI cable can transfer up to 64 AES/EBU audio channels and multiple Micstasy units equipped with I64MADI cards can be connected in series with one MADI cable per unit and configured to use individual channels within the MADI stream with AutoID and Delay Compensation functions that ensure accurate functionality to the individual sample.
The Micstasy is available in the standard version, with all A/D features, or in the Micstasy M version, with the I64 MADI card.
With RME Micstasy, not only will conventional analog microphone preamplifiers and normal AD converters be a thing of the past — but many of the typical procedures and standard applications will definitely change. Also available in a Micstasy M version with MADI I 64 card.

Main features:
• 8 high-quality microphone preamplifiers with 85 dB gain control at 0.5 dB intervals •
Full scale level of -55dBu/maximum input level of +30dBu •
High-quality 8-channel line amplifier •
XLR and TRS Jack inputs with digital gain control (at intervals of 0.5 dB)
• 8-channel AD converter with very low latency and a high signal-to-noise ratio (SNR) thanks to CS5381 converters. The digital outputs provide the same signal as the line outputs
• Flexible “multi-group ganging” for multiple stereo groups ideal for managing surround formats
• Analog outputs: maximum level up to about +27 dBu
• Digital outputs: D-sub connectors for 4 x AES/EBU up to 192 kHz (plus an AES input as a sync source.) Dual ADAT for 8 channels at 96 kHz
• Remote control via MIDI and MADI
• All settings can be saved permanently on 8 customizable presets
• Optional slot for I64 MADI card