The BFD
Percussion expansion pack for BFD offers an
extensive suite of detailed percussion
instruments and Grooves to complement the
drums in your BFD installation.
Featuring everything from Latin, world and
drum kit-centric percussion to junk and
kitchenware via all manner of outlandish
strangeness, the sprawling diversity of BFD
Percussion is inspirational. BFD Percussion
literally contains the Kitchen Sink - in
full BFD multi-sampled, multi-articulated
form!
The instruments are recorded with up to 46
velocity layers, using multiple
articulations and multiple mic channels
including lush, stereo ambience. As always,
carefully-selected high-end mics, preamps
and converters were used for the sessions.
The resulting sounds faithfully capture the
musicality, expressive depth and dynamic
scope of this eclectic percussion
collection, and are perfect for use in a
variety of musical styles and genres.
BFD PERCUSSION DETAILED INFO:
Recorded at
Omega Studios in Maryland, USA by the same
team that brought you BFD Jazz & Funk
Collection, BFD Percussion's sounds provide
a wealth of creative sonic possibilities
when manipulated by BFD’s multi-channel drum
mixing, groove-playing and audio routing
technology.
Lush and expressive
With this
being a BFD expansion pack, everything is
recorded with deep expressive detail: up to
46 velocity layers, multiple articulations
and multiple mic channels. The room is small
and intimate: tight and controlled but with
a lush sense of space, something which is
captured faithfully in the stereo ambient
channels.
The recording chain was set up for maximum
detail, precision and transparency: Royer
ribbon mics and Neumann condensers, amongst
others, were recorded into Digidesign HD
converters through API, Focusrite Red and
ISA115 preamps. The aim was to capture the
diverse instruments as naturally and
accurately as possible.
A
diverse range of pieces
Amongst the
highlights are congas, bongos, timbales,
djembes, darbukas, udu, ashiko, bodhran,
chimes, triangles, cowbells, jamblocks,
woodblocks and temple blocks! A variety of
shakers and tambourines are also included,
along with esoteric effect sounds such as
thunder sheets, flexatones, waterphones and
bowed gongs.
Additionally, a grotesquely beautiful
assortment of junk percussion opens up new
creative avenues: plastic and metal
trashcans, saw blades, stiletto heels,
buckets, spoons, saucepans, water-coolers
and a plethora of other random household
objects of sonic interest.
Brand new grooves
Finally, a library of Grooves provides
ready-made inspiration and creative ideas
for using the sounds in your music. A
variety of world and general purpose Grooves
are included, along with example kits and
programs.
BFD Percussion was produced by John Emrich,
a musician and engineer who lives and
breathes drums and percussion. The paramount
philosophy behind the collection was to make
it as musically useful and inspirational as
possible, and to remain true to the
expressive possibilities and sheer beauty of
these complex, organic instruments
The ReMOTE 25 SL
(Soft Label) is now available to buy.
The 2-octave USB controller keyboard
contains many of the popular features from
the ReMOTE series, along with 2 major
innovations.
The first life-changing improvement shines a
new light on the world of MIDI control, as
well as giving the SL its name. Two large
brightly-backlit 144-character LCD screens
reside at the top of the front panel, which
can display 16 parameter names and values
simultaneously. This means that Template
overlays or having to rely on the user’s
memory are a thing of the past and music
creation and performance is as simple and
pleasurable as possible. Furthermore, Menu
navigation is significantly quicker as each
Menu page is now displayed side by side
along the large screens for immediate access
and modification.
Of course, a stylish Template Editor
software package is also available free of
charge, in which Templates can be created
with the greatest of ease; simple dragging
and dropping or selecting of named
parameters from your plug-in, much more
preferable to number crunching and trawling
through Manuals for MIDI info!
36 of the 40 onboard Template Memories are
factory preset (and also user programmable)
so that the SL will work with all popular
software applications, virtual instruments
and external MIDI equipment straight out of
the box. However, the remaining four onboard
Templates are used for a new and special
purpose, which is actually an infinitely
expanding amount of Templates rolled into a
single format. This cutting edge feature, we
call Automap, is set to change the way music
is made forever. When an Automap-supported
application (currently Reason 3 and Cubase
SX3, Logic 7 to follow very soon) is booted
up, the SL automatically loads this
intelligent Template and maps all active
components within the session to itself.
Then, all the user needs to do is click once
with the mouse or press one button to switch
between controlling different instruments or
sections of the session. Throughout the
process, all information is displayed
clearly on the screens to make everything
crystal clear.
For more information on Automapping see
below
As well as boasting the X/Y Touchpad,
joystick, a total of 56 assignable pots,
encoders, sliders and buttons and the
“best-feeling keys on the market”, the SL
also offers highly responsive trigger pads.
These allow the user to create even more
dynamic performance effects, playing drums
or chord stabs through a software sampler
for example.
Automapis a new system devised by Novation, whereby parameter mapping is done automatically as the user navigates around their session. When an Automap-supporting application is booted up, the SL will switch to the Automap Template and do all the hard work for you. Then, all you need to do is press one button on the SL or click once with the mouse to switch between controlling different instruments and areas of the session. Each application works slightly differently due to the differences in the software but every one offers the next level of software integration and makes controlling infinitely simpler than before.
The
applications
that
currently
support
Automap
are
listed
below,
click on
each
icon for
details.
This
list is
growing
and
updating
all the
time,
however,
as this
is a
brand
new
technology
and the
inevitable
future
of MIDI
controlling.
So make
sure you
check
this
page and
the
Product
Updates
section
for all
the
latest
developments.
Frontier Design Group
Announces
AlphaTrack Control
Surface
Innovative, compact, and
attractive control
surface for computer
DAWs
Frontier
Design Group,
a company known
for creating
innovative
products for
computer
musicians, is
excited to
announce its
latest product.
AlphaTrack™
combines a set
of intuitive
tactile controls
in a compact and
attractive
package. Now you
can ride a
high-resolution
fader, turn real
knobs, scroll
and shuttle with
the touch of
your fingers,
all with a
control surface
that fits your
desktop and the
way you work.
AlphaTrack
lets you work
more
productively and
creatively
without giving
up a lot of
desktop space.
AlphaTrack
includes a
100mm,
touch-sensitive,
motorized fader
which provides
true 10-bit
resolution for
smooth and
precise level
control.
AlphaTrack also
has three
touch-sensitive
encoders, a
feature
previously found
only on high-end
gear costing
thousands of
dollars. These
let you adjust
track and
plug-in
parameters while
the 32-character
backlit display
shows detailed
feedback in
response to your
touch. The
encoders provide
quick control of
pans, sends, EQ,
plug-ins, and
automation.
One of
AlphaTrack’s
unique
innovations is
its
touch-sensitive
jog and shuttle
strip. Slide one
finger across
its surface and
your project’s
timeline scrolls
in response.
Drop a second
finger onto the
strip, and now
your fingers
control the
timeline’s
shuttle speed.
Zoom through
your project
with two
fingers, then
just lift one
finger and slide
to quickly set
the precise
position you
want. And you
can also just
tap on the left
or right ends of
the strip to
navigate through
your project’s
markers!
AlphaTrack
also has a
set of 22
buttons and 21
LED’s, including
standard
transport
controls, per
track record,
solo, mute, and
automation
indication, and
encoder mode
control. When
supported by the
computer
application, a
set of buttons
can also be
customized with
user-programmable
functions.
AlphaTrack
connects to your
computer using
just a single
USB cable. This
makes it
portable, easy
to connect, and
compatible with
laptops since no
additional power
supply is
needed.
AlphaTrack’s
back panel also
includes a
footswitch jack
for easy
punch-in
recording.
“AlphaTrack in
five words?
Fast, intuitive,
innovative,
compact, and
attractive,”
says Brian
George, product
specialist at
Frontier Design
Group. “Why be
stuck with just
a keyboard and
mouse when
AlphaTrack
is such a great
enhancement at a
great price?”
AlphaTrack
works on Windows
XP and Mac OS X
(including Intel
Macs) with
applications
such as Pro
Tools, SONAR,
Reason, Cubase
SX/SL, Digital
Performer, and
Nuendo. Support
for more
applications
will be added
regularly.
AlphaTrack
is priced at
$399 RRP inc
GST and will be
available Monday
12th February.
Watch the Alpha
Track Demo Movie
- requires
Quicktime
** the movie
will take a few
minutes to load.
Well, the world was
truly a much simpler place 30 years ago. Play keyboards? Wanna get
away from the organ? Go into outer space? Two grand burning a hole
in your pocket? No problem. Here’s the Minimoog TM .
There’s the Odyssey. Your choice. And don’t get
nervous...
No need to panic,
things are much easier today. Each of these giants has left his
indelible mark on the pages of music history. And you’re no stranger
to them either. Welcome to Music History 101, class! Open up your CD
collections and go to the section labeled “Early Music: 1972 -
1978“. Now, pay attention: everything that reminds you of chemistry
lab, everything that cuts, tapers, buzzes like a particle
accelerator and freezes like a bucket of liquid nitrogen – that’s
the Odyssey. Anything that reminds you of a Moog, anything that
scratches, fattens and hits, but can’t possibly come out of a
Minimoog TM because it was, well, just too
simplistic – that’s very probably also the Odyssey. If it sounds to
you like robots or aliens are scratching at your door – Odyssey.
After all, it’s no
wonder that the little Arp became the first choice of musicians
looking less to blast out their loudspeakers and more to tinker with
the latest and coolest sounds: simply put, the thing can handle a
hell of a lot more. Whacked-out modulations, sync, ring modulator –
the Odyssey was the Swiss army knife for serious forays into
overtone land. The chemistry set for audio nerds. Plutonium for
soundsmiths. And obviously a waaaay cool lead synth.
And today? Can’t
get it anymore. No way. All gone. If someone’s got one they’re not
getting rid of it. So we thought we’d build one for you. And ours
has real faders. And a bunch of cool extras, too! And of course,
it’s also got “The Sound” of Prof. Dr. Dr. Synth. Digital and yet
still analog.
So they do come
back, sometimes. But watch out: this thing blings like nobody’s
business. Now don’t get nervous...
1024 oscillator
elements with envelope generators and a filter module on an
ant-sized chip? The classic Odyssey didn’t have all of that. That’s
why that instrument had a lot less on board, though it made up for
it with its transistors, resistors and diodes all carefully
soldered, wired up and manually adjusted. That’s why the beast
rocked so much.
We took a really
long look under the hood. And meticulously rebuilt the thing. Okay,
so we didn’t exactly piece it together from the original components,
since we thought it would be nice if you could afford it. But on the
computer. On the inside, we made sure to build in all of those
little imperfections that made the original Odyssey sound so sweet.
And we coupled that with the latest hardware, which made it possible
us to squeeze 12 Odysseys under the Prodyssey ASB’s gleaming
exterior. Each of these has two oscillators with sync, variable
pulse width, and envelope control. LFO with sample & hold generator
– of course, this isn’t a sampler but a tricked-out sound mangler
with that authentic Star Wars touch. Filters with the
characteristics that made the Odyssey the synth of choice for every
European soundsmith: slightly cutting but also electric, and if need
be, those soft and sparkling chrome formica quantum tunneling
sounds. Plus, Filter-FM. The two envelope generators are capable of
going head to head with not only the VCA but also the oscillators.
And, of course, the modulation capabilities that the typical
chromatographs and slide rules of today’s NASA Laboratories can’t
give you any more.
Is that enough for
you? OK, no need to keep reading. You can find our dealer list here.
For those of you who still want more, well, we really might have
gone a little overboard for you guys. We totally revamped the
modulation capabilities. We built in a Minimoog TM (!)
filter. Added touch sensitivity. Aftertouch (of course!). Pedal
connections. Envelopes with adjustable velocity. MIDI-Clock. FX
section.
And we were bold
enough to leave our imprint on the Prodyssey ASB’s front panel. We
thought that black and white looked cooler, to match the other
models in the ASB series. But beneath it all gleams a series of
authentic remakes of hand-made oscillators. Which scream so loudly
that they can be heard on Proxima Centauri.
So you, the master
soundsmith, are used to seeing exactly where everything’s at. You
know all of the world’s sound libraries by heart. Have played with
each and every instrument on this planet at least once. Are on a
first-name basis with just about everyone in the biz. A real pro.
We’ve got just the thing for you, dude! All specs. At a glance. With
up-to-the-last-decimal-point precision. But don’t forget: nothing
beats rolling up your sleeves and getting right into it.
34 years ago you had
to have an advanced degree in order to squeeze a decent sound out of
the thing. Tweaking 32 faders versus simply playing a flute;
becoming a sound smith was no easy task. But you guys today are just
as knowledgeable, right? If not, don’t be embarrassed, it’s no
problem: just get yourself an internship at a nuclear plant. Or,
grab our User’s Manual.
The manual is
currently under construction. We appreciate your patience and
understanding.
The ARP Odyssy helped
Wilhelm Konrad Röntgen discover X-Rays: the beam originally came
about after Röntgen streamed a lively seven octave frequency sweep
over strontium sulfate crystals. Then he used the instrument to
compose his famous opera Des Anheischigen Elixyr (“The Elixir of the
Pledgeor”). Want more? Glad to oblige. The Straubing atomic research
center was able to ascertain the half-life of Element 106 using a
phonon array consisting of Odysseys connected in a massive 16×16
parallel grid. A fat “blurp” emanated from the main speaker
revealing to the research team that they had just discovered the new
transactinid element. They celebrated the occasion by brewing up a
pot of coconut tea. The first sign of extraterrestrial
intelligence...
What’s that you say? These are nothing but big fat lies?
Well, OK. You found us
out. Fine. Guilty as charged. But what more do you want us to write
about the ARP Odyssey? How’s this? It was built by Alan R. Pearlman
– the initials give away the name of the ARP company – to compete
with Moog’s Mini. A competitor with a brain, that Pearlman, because
he had previously worked on NASA’s Apollo program. The MiniArp had
one fewer oscillator than Moog’s baby, but to make up for it, it had
oscillator sync, a ring modulator, two envelope generators. And –
aaaarrrghhhhh – Sample-and-Hold: this weird module that makes synths
drone like robots right out of a space opera. A real monster for the
physics lab. Almost as powerful as one of those early telephone
booths, but with no phone cables. Oh, yeah: it was available in
several colors – white/black, black/gold, and black/red. It’s
understandable that Odyssey collectors go crazy because Pearlman
would constantly tweak and re-tweak the inner workings of his baby.
The consummate scientist.
Before too long,
this harmless-looking gadget split the hardcore synth crowd into two
camps: those who really wanted to make it rumble would beat on their
Moogs. Those who were looking for more than the conventional
rumbling got an Arp. It was as simple as this – Long hair: Minimoog
TM ; Glasses: Odyssey. And if you wanted both
you had to become famous. A few of those who opted for the Odyssey
even had some success: the list of musicians whose Arp solos
screamed their ways into record sales can boast almost as many
entries as the periodic table of the elements.
But things are
different today; it’s not really such a big deal anymore to get THAT
Arp sound to come screaming out of your speakers. True Odysseys are
about as rare on the used instrument market as are hippies at a
particle physics convention. But there have been quite a few
“digital” copies made over the years.
The one caveat: the
real fun of an Odyssey is all of the tinkering and knob tweaking,
all of the touching and playing with it. That’s why we decided to
almost completely reinvent it and give you the Odyssey III with its
friendly 24 dB/Oct filter. For your own personal sound lab. To
tinker with. To unearth new sounds. To discover X-rays.
Oh yeah: even if
your Prodyssey should sound no different than the original, you’re
still one up on those first users from 1972. You’ve also got a
Minimoog TM stashed away inside it. Well,
sort of... Just press a button, and you can rumble to your heart’s
content with the integrated Moog filter. But don’t worry, your new
Prodyssey ASB may yet help make you famous.
Sequoia 9
/ Samplitude 9 is setting new
benchmarks in effectiveness: maximum
resource utilization with the
ultimate sound neutrality. The
unique functionality as well as
outstanding cutting and editing
options in the areas Multi-track
Recording, MIDI & Audio Editing, VST
integration, sound design and
mastering provide all the
possibilities for creative editing
at the highest level. best
just got better!
New Features:
Video Engine (Sequoia only):
The newly integrated video
engine allows you to include
individual video objects.
Hybrid Audio Engine - A
special combination of a new low
latency engine and the classic
playback engine
Economy Track - You can
set up a track as an economy
track to save system resources
Advanced Dual CPU Support -
Sequoia / Samplitude support
multi-CPU/multi-core/HT PCs by
distributing the load for
various tasks to different CPUs
Track Editor:
Located at the left side of the
arrangement window the Track
Editor enables Access to all
important Track parameters of
the selected Track.
New Effect Presets:
The "FX" button in the Track
Editor and Mixer opens dialogs
for specifying the order of the
effects and adding VST/DirectX
plug-ins.
Score Editor - The Score
Editor displays the score of a
MIDI track in real-time
am-phibia:
am-phibia is a tube
amplifier/channel strip and
belongs to the Analog Modelling
Suite of the MAGIX Plug-ins
alongside the well-known
am-track and am-pulse.
VariVerb
Pro: Reverb
device that creates classic and
modern, artifact- like reverb
effects such as room, plate,
spring and non-linear reverb.
de-esser: With the de-esser
you can conveniently and quickly
remove the "S" sounds from vocal
recordings.
VSTi Manager: In the VSTi
Manager you can sort, manage,
instance and delete VST
instruments.
Sample Tank LE: Sample
Tank 2.1 LE from IK Multimedia
is included as an external VST
instrument
Auto Jam Session: The
Auto JamSession lets you create
complete songs single-handedly
Sound Cloner: With the
Sound Cloner feature you can
determine the sound
characteristic of a song and
transfer it to another one.
Spectral Cleaning:
Spectral Cleaning removes noise
from a recording without audibly
influencing the wanted signal.
New surround characteristics:
Surround DeHisser, surround
vocoder, surround volume fader
in the VIP scales all surround
channels, surround volume
automation in the VIP, surround
bounce interleaved now with wave
format - Extensible chunk: the
surround visualization is opened
in surround projects without
stereo master (preset).
Enhanced automation including
AUX: In addition to the
volume and panorama automation
you can now also dynamically
record the AUX input in the
Mixer and Track Editor while the
automation button is activated.
Improvements and additions to
the internal audio effects:
UTR - "Ultra Transparent
Resampling": New resampling
algorithm for considerably
faster and even better
linear-phase high-quality
resampling, new
time-stretching/pitch-shifting
algorithm: "Beatmarker
Time-stretching smoothened",
non-modal FX dialogs, room
simulator and multi-band
effects: Optimization for Low
Latency use, integrated
harmonizer for Elastic Audio,
and much more.
Advanced effects/VST support:
Supports VST WaveShell
including automation, object
effect support: object
delay/reverb effect, VST &
DirectX plug-ins available
within the object as pre/post,
improved parameter resolution
for VST automation, new options
for creating 24-bit FX files for
destructive effects.
More new features:
Burning MP3 CDs, project export
as an AAC file, record mode: new
preset "default mode (playback
while recording", new tree
structure for system and project
options, advanced controller
support.
Audio ID: Music
identification process provided
by M2Any. Analyzes the music
track and submits a search
request to a web server.
The 76-Note Fully Weighted Performance
Powerhouse
Kurzweil introduced the first Performance
Controller keyboard, the PC88, back in 1994,
receiving both critical and public acclaim. Now
continuing this tradition of excellence,
Kurzweil introduces our first 76-note fully
weighted action Performance Controller, the
PC1SE Special Edition. With breathtaking sounds,
superior effects and impressive controller
capabilities (plus a
Custom Gig
Bag included for FREE, for a limited time),
the PC1SE delivers the power of Kurzweil's
popular PC1X in
an elegant brushed aluminum 76 note enclosure.
It's the
Sound....
The end
result is the famous Kurzweil sound, which has
made the entire PC series a resounding success.
The many samples are impressive; they have been
tuned, looped, noise-reduced, and processed with
a level of expertise and precision found nowhere
else in the industry. These include the
Triple-Strike Piano, countless drum and
percussion kits,
Take 6 vocals. BONUS! In addition, both the
Orchestral and
Classic Keys
sound ROM expansions are included ...standard.
It's the
Effects...
The final
ingredient to the PC1SE's sound is its effects
processor, using the same technology found in
our award winning
KSP8 processor and
K26 Series
keyboards. Stated simply, the effects section in
the PC series sounds better than most
stand-alone effects processors. Reverbs decay
noiselessly into complete silence. The many
chorus, phaser and flanger presets are full and
rich. Transparent compressors, authentic rotary
speaker emulations, and realistic distortion
presets are ideal for "vintage" sounds. And of
course there are the effects algorithms unique
to Kurzweil, like shapers and Laserverb.
It's the
Control...
The PC1SE
offers comprehensive MIDI control, with multiple
overlapping zones, inputs for dual switch and CC
pedals, and a bank of assignable switches and
knobs. Intelligent MIDI implementation, a full
featured arpeggiator, and optional
Super Ribbon
controller make the PC1SE an ideal
controller whether you're on stage, in the
studio or on your desktop.
FEATURES:
Keyboard: 76 note fully weighted action,
velocity and pressure sensitive
Display: 2x20 character LCD w/ rear
panel contrast knob
ADI-8 QS
AD/DA
Converter -
8-Channel 24
bit/192 kHz Remotely Controllable
AD/DA Converter with option slot More
Information on the ADI-8QS
RME
Micstasy Preamp
-
8-Channel Remotely
Controllable High-End
Microphone and Instrument
Preamp with a number of
unique features and true
innovations that will change
recording processes
radically. More
Information on the Micstasy
Preamp
ADI-8 QSAD/DA
Converter: At AES
RME debuts the ADI-8 QS, a new highly
flexible and fully featured 8-channel AD/DA
converter. The device combines excellent
analog circuit design with outstanding low
latency AD/DA converter chips. Along with
SteadyClock, the QS surely redefines the
reference class of analog/digital
converters. The compact 19"/ 1U device has a
host of extraordinary 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-known 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. That’s
low latency in perfection!
The ADI-8
QS also offers an unsurpassed choice of
interface options. In addition to 2 ADAT
I/Os that support up to 192 kHz (S/MUX), the
device also features a 25-pin AES/EBU
interface for all inputs and outputs.
And that's not
all - The ADI-8 QS features RME's
latest technological achievement - an
expansion slot that makes the device even
more flexible. The slot can host a MADI
option card for direct connection to MADI
systems. All interface options can be used
simultaneously under all conditions; analog
(balanced TRS and/or D-Sub), ADAT, AES/EBU
and the MADI option card.
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.
Other typical
RME features like Intelligent Clock Control
(ICC), SyncCheck®, and SyncAlign® have also
been implemented. Compare the following
high-end features from the ADI-8 QS with all
other multi-channel converters and you’ll
definitely agree that this converter’s
cost/performance ratio is second to none!
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 RME's
unsurpassed 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
Optional MADI module
ADI-8 QS
The RME
Revolution for Stage and Studio: RME
Micstasy
Preamp:
8-Channel
Remotely Controllable High-End
Microphone and Instrument Preamp
with a number of unique features and
true innovations that will change
recording processes radically.
Munich/ AES Paris, May 19th, 2006 (ictw)
– At AES RME will debut the brand
new Micstasy High End
Microphone Preamp which features
high-end 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 the high-end,
multi-analog-input super device for
live, studio or installation; right
up to no-compromise mobile
recordings – making surround
recordings a breeze!
Micstasy
is both an analog preamp (Mic In to
Line Out) and a digital
preamp/converter (Mic 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. And it can be fully
remote-controlled. The unit also
functions as a universal high-end AD
converter, as it not only offers the
highest quality conversion of
microphone signals, but also of line
signals from -55dBU up to + 30 dBu,
and even instrument signals. And all
this without needing to set an input
sensitivity. Clipping is practically
impossible. Live recordings become
simpler, safer, and more
comfortable.
That’s AutoSet -
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. RME
intentionally decided not to enable
the device to raise the gain,
AutoSet can only reduce it: In an
orchestral recording session, the
user sets all gains to 60 dB and
when the orchestra play fortissimo
AutoSet will automatically adjust
the levels by reducing the gain
whenever overloads were detected.
Micstasy’s
most important features can be
controlled 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. RME´s new
option slot enables total
integration of the unit in a MADI
environment. More interface options
are planned enabling direct
connection; via FireWire or other
standards, to any DAW for high-end
recordings. On a practical level, a
TRS input on the front complements
the rear XLR connector. The front
input receives line level signals
and it can be switched to a Hi-Z
mode for use with instruments.
To sum it up:
Heavy, trouble-prone analog
multicores are history. A single
MADI cable can transfer up to 64
channels of audio. Several
Micstasys can be connected with
one MADI cable per unit and
configured to use their individual
channels within the MADI signal. Up
to 8 Micstasys or ADI-8 QS units can
thus be combined into one single
MADI line. Additional MADI streams
will allow systems of up to 128 or
192 channels, with the corresponding
number of ADI-8 QS and
Micstasys.
Features
Overview:
8 hi-end
mic preamps, digitally
controlled gain (0.5 dB steps),
range and internal PAD
(invisible to the user). This
results in an incredible gain
range of 85 dB. The input
reaches full scale level at -55
dBu, but can also handle a
maximum input level of +30 dBu!
“This
is the closest sound to live
percussion I’ve heard, in fact
it IS live. A wonderful tool for
recording” -
nervous...
soldered, wired up and manually adjusted. That’s why the beast
rocked so much.
