User’s Guide Micstasy The Professional’s Full Range Solution ™ TotalGain ™ AutoSet I64 Option Slot ™ SteadyClock ™ ™ SyncCheck Professional Mic/Line/Instrument Preamp and AD-Converter 8-Channel Microphone / Line Preamp with Line Outputs 8-Channel Analog to AES / ADAT Interface Optional 64-Channel MADI Interface 24 Bit / 192 kHz Digital Audio MIDI Remote Control AES-3 AES-10 24 Bit Interface
Important Safety Instructions ..................................4 General 1 2 3 4 Introduction ...............................................................6 Package Contents .....................................................6 Brief Description and Characteristics.....................6 First Usage – Quick Start 4.1 Controls - Connectors - Displays ............................7 4.2 Quick Start ..............................................................9 5 Accessories ...............................
Inputs and Outputs 13 Analog Inputs / Outputs 13.1 Mic / Line In Rear................................................. 30 13.2 Instrument / Line In Front..................................... 30 13.3 Line Out ............................................................... 31 14 Digital Outputs 14.1 AES / EBU ........................................................... 32 14.2 ADAT Optical ....................................................... 33 14.3 I64 MADI Card ...........................................
Important Safety Instructions ATTENTION! Do not open chassis – risk of electric shock The unit has non-isolated live parts inside. No user serviceable parts inside. Refer service to qualified service personnel. Mains • The device must be earthed – never use it without proper grounding • Do not use defective power cords • Operation of the device is limited to the manual • Use same type of fuse only To reduce the risk of fire or electric shock do not expose this device to rain or moisture.
User’s Guide Micstasy General User’s Guide Micstasy © RME 5
1. Introduction 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. When developing the Micstasy we used all our experience, and also the experience of our customers, to create a unique, excellent and high-quality unit.
4. First Usage – Quick Start 4.1 Controls - Connectors - Displays The front of the Micstasy features eight instrument/line inputs, eight LED level meter, eight numerical LED displays, eight Select keys, a rotary encoder, further keys for more specific configuration options, and 69 LEDs providing a detailed status display. Each channel has a dedicated configuration area on the front plate. The display GAIN shows the currently set amount of amplification.
The rear panel of the Micstasy has eight analog inputs, eight analog outputs, mains power, MIDI I/O, word clock I/O, the I64 Option Slot, and all digital inputs and outputs (AES/ADAT). MICROPHONE / LINE BALANCED INPUTS (XLR): Eight balanced full range mic/line inputs with 85 dB gain range. LINE BALANCED OUTPUTS (XLR): Eight balanced line outputs with up to +27 dBu level. AES I/O (25-pin D-sub): The D-sub connector provides four AES/EBU outputs (AD signals) and one AES/EBU input (clock synchronization).
4.2 Quick Start After connection of all cables and power-on of the device, the configuration of the Micstasy begins in the CLOCK section. Choose a clock source and a sample rate. The next step is the GAIN setting. This can be done in two ways: • Individually: Hit the SELECT button of one or several channels. The corresponding GAIN displays start flashing. Select the desired value with the rotary encoder. Or: • Globally: Push the encoder knob once. All GAIN displays start flashing.
6. Warranty Each individual Micstasy undergoes comprehensive quality control and a complete test at IMM before shipping. The usage of high grade components should guarantee a long and trouble-free operation of the unit. If you suspect that your product is faulty, please contact your local retailer. Audio AG grants a limited manufacturer warranty of 6 months from the day of invoice showing the date of sale. The length of the warranty period is different per country.
CE / FCC Compliance CE This device has been tested and found to comply with the limits of the European Council Directive on the approximation of the laws of the member states relating to electromagnetic compatibility according to RL2004/108/EG, and European Low Voltage Directive RL2006/95/EG. FCC This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
User’s Guide Micstasy © RME
User’s Guide Micstasy Usage and Operation User’s Guide Micstasy © RME 13
8. Front Panel Controls 8.1 Select Key and Rotary Encoder (SET) The rotary encoder SET is a highly intuitive multifunctional device. It is used to set the gain, to select the desired function, to deactivate the function of one or all channels, to select a preset, and to select various options in the Setup menu. To activate a function, press the knob repeatedly until the corresponding LEDs are flashing.
8.2 Clock Section The source and frequency of the unit's clock is configured in the CLOCK SECTION. The button CLOCK lets you step through the options external clock (Word, AES, Option = MADI) and internal clock. The button SAMPLE RATE sets the sample rate for both external and internal clock. WCK, AES, OPTN (Slave Mode) Defines the corresponding input as clock reference. A missing or invalid clock source signal is indicated by flashing of the corresponding LED.
8.4 Remote REMOTE defines the source of MIDI remote control commands. Choices are the MIDI DIN jack and the MADI input of the I64 MADI Card (Option Slot). Note: Via MIDI remote control, all front panel controls can be locked (Lock Keys). An exception is the REMOTE key. In Off-state Lock Keys is deactivated. Therefore a locking of all the controls can be revoked directly at the unit at any time. 9. The Input Channel in Detail 9.1 General Each channel has a dedicated configuration area on the front plate.
9.4 Phase PHASE changes the polarity (180°). Phase cancellations and sound changes can be caused by using multiple microphones at different places, or wrongly soldered cables. In such cases PHASE can eliminate the error by adding an additional phase inversion. The signal path of the Micstasy is fully symmetrical, from the input up to the AD-converter. Therefore the function Phase is realized passively by a simple relay, swapping the positive and negative signal line.
9.7 AutoSet 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.
9.9 Instrument / Line The INST/LINE inputs allow to attach both balanced line signals as well as unbalanced instrument signals via 1/4" TRS jacks. It handles standard line sources like keyboards, mixing desks, effects devices or consumer-type units perfectly well. Changing the input impedance to Hi Z (470 kOhm instead of 5.6 kOhm) turns INST/LINE into a perfect instrument input. The input Inst/Line operates fully servo-balanced even with HI Z activated. The maximum input level is +21.
11. The Setup Menu 11.1 General Some options and settings are accessed and changed very seldom. These have been collected in the Setup menu. The Setup menu is entered by pushing SAVE and RECALL at the same time. All changes are stored automatically. 11.2 Auto ID (Au) Default: Off Available settings: On, Off This option relates to the use of the I64 MADI Card. Multiple Micstasy (and ADI-642 and ADI-8 QS, see chapter 14.4) connected serially can assign consecutive IDs to themselves (see chapter 11.4).
Delay Compensation always uses the worst case, the operation of 8 units, but delays the signals individually. The amount of the respective delay is solely derived from the current ID, no matter if it has been assigned manually or by Auto ID. 11.4 ID (Id) Default: 01 Available settings: 01, 02, 03, 04, 05, 06, 07, 08 To remote control more than one Micstasy each device can have its own ID, providing a separated remote control of multiple devices via a single MIDI channel.
11.7 Follow Clock (FC) Default: Off Available settings: On, Off The signal at the word clock or AES input can be Single, Double or Quad Speed, the Micstasy can use it in any case, independent of its current clock range. When activating the option Follow Clock the Micstasy follows the input clock 1:1. At 96 kHz the DS LED will light up automatically, at 192 kHz the QS LED.
11.10 Pro Tools MIDI Compatibility (Pt) Default: Off Available settings: On, Off The Micstasy is MIDI remote compatible to Digidesign's Pro Tools system. The extended functionality of the Micstasy (e.g. much smaller gain steps) is not available here, because the Digidesign protocol does not support those features. The Pro Tools micpre MIDI protocol uses simple controller messages and is therefore unprotected. Other MIDI devices like keyboards etc.
11.13 Display Auto Dark (dArk) Default: Off Available settings: On, Off Displays and LEDs on the front panel can be switched off by activating the option Display Auto Dark. Only the decimal points from the 8 numerical LED displays will be lit. Such a mode is useful e. g. on stage. Dimming takes place 10 seconds after the function has been activated. At the same time all control elements are momentarily locked, the device is therefore protected against unintentional changes.
12. Remote Control 12.1 MIDI The Micstasy can be completely remote controlled via MIDI. It reacts on special SysEx commands. Furthermore, upon request it will report the complete device status, including all controls and LEDs on the front plate. Each Micstasy can be programmed with its own ID, providing a separated remote control of multiple devices via a single MIDI channel. A description of the MIDI implementation is found in chapter 20.
The block diagram shows the signal flow in a HDSP MADI-based remote control system. MIDI commands from a software on PC or Mac travel from the MADI Out of the HDSP MADI to the MADI In as well as to the MIDI Out and MADI Out of the Micstasy. Additional to the remote commands further MIDI data can be transmitted, available then at the DIN MIDI output jack of the Micstasy. However, MIDI signals at the DIN input jack can not travel back to the computer. With input setting MIDI the other direction is active.
Names can be assigned to all channels and all devices. Via MIDI remote control, all front panel controls of the Micstasy can be locked (Lock Keys). An exception is the REMOTE key. In the Off-state the function Lock Keys is deactivated. Therefore a locking of all the controls can be revoked directly at the unit at any time.
User’s Guide Micstasy © RME
User’s Guide Micstasy Inputs and Outputs User’s Guide Micstasy © RME 29
13. Analog Inputs / Outputs 13.1 Mic / Line In Rear The Micstasy has 8 balanced full range XLR inputs on the back panel. The electronic input stage is built in a servo balanced design which handles unbalanced and balanced signals correctly, automatically adjusting the level reference. When using unbalanced cables be sure to connect pin 3 (-) to 1 (ground). Otherwise noise may occur, caused by the unconnected negative input of the balanced input. The pin assignment follows international standards.
Instrument The main difference between a line and an instrument input is its input impedance. The function HI Z raises the input impedance from 5.6 kOhm to 470 kOhm. The input Inst/Line operates fully servo-balanced even with Hi-Z activated. The front inputs of the Micstasy offer an adjustable amplification from 0 dB up to +50 dB. This equals a sensitivity of +21 dBu down to –29 dBu, referenced to full scale of the AD-converter.
14. Digital Outputs 14.1 AES/EBU The four AES/EBU outputs are provided on the rear of the Micstasy via a 25 pin D-sub connector with Tascam pinout (also used by Digidesign). A digital breakout cable will provide 4 male (and 4 female) XLR connectors. Every output is transformer-balanced, ground-free and compatible to all devices with AES/EBU ports. In normal operation the AES outputs carry the converted analog input signal.
AES/EBU Sync The input AES 1 (channel 1/2) found on the D-sub connector can not be used for audio with the Micstasy, but as clock source. The input is transformer-balanced and ground-free. Thanks to a highly sensitive input stage, a SPDIF signal can also be fed by using a simple cable adapter phono/XLR (see above). Pinout of the D-sub connector, Inputs Signal D-sub In 1/2+ 24 In 1/212 In 3/4+ 10 In 3/423 In 5/6+ 21 In 5/69 In 7/8+ 7 In 7/820 GND is connected to pins 2, 5, 8, 11, 16, 19, 22, 25.
14.3 I64 MADI Card The I64 MADI Card provides the Micstasy with a 64-channel MADI input and output. Coaxial and optical output operate simultaneously and deliver the same data. The ID determines which MADI channels the Micstasy will use (see chapter 11.4, ID). The MADI outputs operate in parallel to the AES/EBU and ADAT outputs, provide the same audio data, and are configured with the same front panel controls. The I64 MADI Card features an optical as well as a coaxial MADI input.
Delay Compensation has to be manually activated in each unit! 14.4 Differences serial MADI with I64 MADI Card and ADI-642 I64 MADI Card: Activate Auto ID in the first unit (ID of the master can be changed). All following units become Slave, get a consecutive ID, and with this the according channel routing. If desired, Delay Compensation has to be manually activated in each unit. ADI-642: Activate ADC (Auto Delay Compensation) in the first unit (ID of the master is always 1).
15. Word Clock 15.1 Word Clock Input and Output SteadyClock guarantees an excellent performance in all clock modes. Its highly efficient jitter suppression refreshes and cleans up any clock signal, and provides it as reference clock at the BNC output (see section 17.10). Input The Micstasy's transformer isolated word clock input is active when WCK is chosen in the clock section. The signal at the BNC input can be Single, Double or Quad Speed, the Micstasy automatically adapts to it.
15.2 Operation and Technical Background In the analog domain one can connect any device to another device, a synchronization is not necessary. Digital audio is different. It uses a clock, the sample frequency. The signal can only be processed and transmitted when all participating devices share the same clock. If not, the signal will suffer from wrong samples, distortion, crackle sounds and drop outs.
15.3 Cabling and Termination Word clock signals are usually distributed in the form of a network, split with BNC T-adapters and terminated with resistors. We recommend using off-the-shelf BNC cables to connect all devices, as this type of cable is used for most computer networks. Actually you will find all the necessary components (T-adapters, terminators, cables) in most electronics and computer stores. The latter usually carries 50 Ohm components.
User’s Guide Micstasy Technical Reference User’s Guide Micstasy © RME 39
17. Technical Specifications 17.1 Analog Microphone/Line 1-8, rear • Input: XLR, electronically balanced • Input impedance: 2 kOhm • Frequency response –0.1 dB: 20 Hz – 100 kHz • Frequency response –0.3 dB: 10 Hz – 150 kHz • THD @ 30 dB Gain: < -110 dB, < 0.0003 % • THD+N @ 30 dB Gain: < -100 dB, < 0.001 % • Channel separation: > 120 dB • CMRR 50 Hz: > 60 dB • CMRR 200 Hz – 20 kHz: > 70 dB • EIN @ 30 dB Gain @ 150 Ohm: 122.0 dBu • EIN @ 40 dB Gain @ 150 Ohm: 126.
AD-conversion • Resolution: 24 Bit • Signal to Noise ratio (SNR) @ +30 dBu: 115.0 dB RMS unweighted, 118 dBA • Signal to Noise ratio (SNR) @ +21 dBu: 112.4 dB RMS unweighted, 116 dBA • Signal to Noise ratio (SNR) @ +13 dBu: 110 dB RMS unweighted, 113 dBA • • • • • Frequency response @ 44.1 kHz, -0.5 dB: 5 Hz – 20.6 kHz Frequency response @ 96 kHz, -0.5 dB: 5 Hz – 45.3 kHz Frequency response @ 192 kHz, -1 dB: 5 Hz - 70 kHz THD+N: < -110 dB, < 0.0003 % Channel separation: > 110 dB 17.
17.3 Digital Outputs AES/EBU • 4 x, transformer-balanced, galvanically isolated, according to AES3-1992 • Output voltage Professional 4.5 Vpp • Format Professional according to AES3-1992 Amendment 4 • Single Wire: 4 x 2 channels 24 bit, up to 192 kHz ADAT • 2 x TOSLINK • Standard: 8 channels 24 bit, up to 48 kHz • S/MUX: 16 channels 24 bit / 48 kHz, equalling 8 channels 24 bit 96 kHz • S/MUX4: 16 channels 24 bit / 48 kHz, equalling 4 channels 24 bit 192 kHz Word Clock • BNC • Max.
17.6 General • • • • • • • • Power supply: Internal switching PSU, 100 - 240 V AC, 60 Watts Typical power consumption: 24 Watts Maximum power consumption: < 40 Watts Dimensions including rack ears (WxHxD): 483 x 88 x 242 mm (19" x 3.46" x 9.5") Dimensions without rack ears/handles (WxHxD): 436 x 88 x 235 mm (17.2" x 3.46" x 9.3") Weight: 3 kg ( 6.6 lbs) Temperature range: +5° up to +50° Celsius (41° F up to 122°F) Relative humidity: < 75%, non condensing 17.
17.9 Connector Pinouts The 25 pin D-sub connector provides four AES inputs and outputs. The pinout uses the widely spread Tascam scheme, which is also used by Digidesign. Tascam / Digidesign: Signal D-Sub Signal D-Sub In 1/2+ 24 In 1/212 In 3/4+ 10 In 3/423 In 5/6+ 21 In 5/69 In 7/8+ 7 In 7/820 Out 1/2+ 18 Out 1/26 Out 3/4+ 4 Out 3/417 Out 5/6+ 15 Out 5/63 Out 7/8+ 1 Out 7/814 GND is connected to pins 2, 5, 8, 11, 16, 19, 22, 25. Pin 13 is not connected.
XLR sockets analog input and output The XLR connectors of the analog inputs and outputs are wired according to international standards: 1 = GND (shield) 2 = + (hot) 3 = - (cold) The servo balanced input and output circuitry allows to use unbalanced connections with no loss in level. For this to work, pins 3 (-) and 1 (GND) have to be connected inside the XLR connector. The output circuitry does not operate in a servo-balanced way.
18. Technical Background 18.1 Terminology Single Speed Sample rate range originally used in Digital Audio. Typical applications are 32 kHz (digital radio broadcast), 44.1 kHz (CD), and 48 kHz (DAT). Double Speed Doubles the original sample rate range, in order to achieve higher audio quality and improved audio processing. 64 kHz is practically never used, 88.2 kHz is quite rare in spite of certain advantages. 96 kHz is a common format. Sometimes called Double Fast.
18.2 Lock and SyncCheck Digital signals consist of a carrier and the data. If a digital signal is applied to an input, the receiver has to synchronize to the carrier clock in order to read the data correctly. To achieve this, the receiver uses a PLL (Phase Locked Loop). As soon as the receiver meets the exact frequency of the incoming signal, it is locked. This Lock state remains even with small changes of the frequency, because the PLL tracks the receiver's frequency.
18.3 Level References and Gain The analog output levels of the Micstasy are designed to maintain a problem-free operation with most other devices. The headroom of the Micstasy reaches 9 to 20 dB, depending on the reference level. Reference Micstasy +24 Lo Gain +19 +4 dBu +13 0 dBFS @ +24 dBu +19 dBu +13 dBu Headroom 20 dB 15 dB 9 dB With +13 selected, the according headroom of 9 dB meets the latest EBU recommendations for Broadcast usage.
18.4 Latency and Monitoring The term Zero Latency Monitoring has been introduced by RME in 1998 for the DIGI96 series and describes the ability to pass-through the computer's input signal at the interface directly to the output. Since then, the idea behind has become one of the most important features of modern hard disk recording.
18.5 DS - Double Speed When activating the Double Speed mode the Micstasy operates at double sample rate. The internal clock 44.1 kHz turns to 88.2 kHz, 48 kHz to 96 kHz. The internal resolution is still 24 bit. Sample rates above 48 kHz were not always taken for granted, and are still not widely used because of the CD format (44.1 kHz) dominating everything. Before 1998 there were no receiver/transmitter circuits available that could receive or transmit more than 48 kHz.
18.7 AES/EBU - SPDIF The most important electrical properties of 'AES' and 'SPDIF' can be seen in the table below. AES/EBU is the professional balanced connection using XLR plugs. The standard is being set by the Audio Engineering Society based on the AES3-1992. For the 'home user', SONY and Philips have omitted the balanced connection and use either Phono plugs or optical cables (TOSLINK). The format called S/P-DIF (SONY/Philips Digital Interface) is described by IEC 60958.
18.8 Signal to Noise Ratio in DS- / QS-Operation The outstanding signal to noise ratio of the Micstasy's AD-converters can be verified even without expensive test equipment, by using record level meters of various software. But when activating the DS and QS mode, the displayed noise level will rise from -115 dBFS to -112 dBFS at 96 kHz, and –79 dBFS at 192 kHz. This is not a failure.
18.9 MADI Basics MADI, the serial Multichannel Audio Digital Interface, has been defined already in 1989 as an extension of the existing AES3 standard following several manufacturers' wish. The format also known as AES/EBU, a balanced bi-phase signal, is limited to two channels. Simply put, MADI contains 28 of those AES/EBU signals in serial, i. e. after one another, and the sample rate can still even vary by +/-12.5%. The limit which cannot be exceeded is a data rate of 100Mbit/s.
18.10 SteadyClock The SteadyClock technology of the Micstasy guarantees an excellent performance in all clock modes. Its highly efficient jitter suppression refreshes and cleans up any clock signal, and provides it as reference clock at the word clock output. Usually a clock section consists of an analog PLL for external synchronization and several quartz oscillators for internal synchronisation. SteadyClock requires only one quartz, using a frequency not equalling digital audio.
19.
20. MIDI Implementation Micstasy 20.1 Basic SysEx Format Value F0h 00h 20h 0Dh 68h 00h..7Eh, 7Fh mm nn oo F7h Name SysEx header MIDITEMP manufacturer ID Model ID (Micstasy) Bank number / device ID (7Fh = broadcast, all IDs) Message type Parameter number (see table 1) Data byte EOX Bank Number / Device ID The lower nibble refers to the device ID (0..7), the higher nibble refers to the bank number (0..7), e. g. 25h means bank 2, device 5. 7Fh addresses all banks and all devices. 20.
20.3 Table Set Val. No. No. Name 00h 01h 02h 03h 04h 05h 06h 07h 08h 09h 0Ah 0Bh 0Ch 0Dh 0Eh 0Fh 10h 11h 12h 13h 14h 15h 16h 17h 18h 19h 1Ah 1Bh 1Ch 1Dh 1Eh 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 Ch. 1 Gain coarse Ch. 1 Gain fine Ch. 1 settings Ch. 2 Gain coarse Ch. 2 Gain fine Ch. 2 settings Ch. 3 Gain coarse Ch. 3 Gain fine Ch. 3 settings Ch. 4 Gain coarse Ch. 4 Gain fine Ch. 4 settings Ch. 5 Gain coarse Ch. 5 Gain fine Ch. 5 settings Ch. 6 Gain coarse Ch.
Channel Settings MSB / 7 6 5 0 P48: 0 = off, 1 = on Phase: 0 = normal, 1 = inverted M/S: 0 = off, 1 = on (set only ch. 1, 3, 5, 7) Lo Cut: 0 = off, 1 = on Autoset: 0 = off, 1 = on Hi Z: 0 = off, 1 = on Input: 0 = rear, 1 = front 4 3 2 1 LSB / 0 18h Setup 1 MSB / 7 (d.c. for clock sel > 0) 19h Setup 2 6 5 4 3 MSB / 1 LSB / 0 MSB / 1 LSB / 0 2 1 MSB / 1 LSB / 0 LSB / 0 int. freq.: 0 = 44.
20.4 Pro Tools MIDI Compatibility The Micstasy is MIDI remote compatible to Digidesign's Pro Tools system. The extended functionality of the Micstasy (e.g. much smaller gain steps) is not available here, because the Digidesign protocol does not support those features. The Pro Tools micpre MIDI protocol uses simple controller messages and is therefore unprotected. Other MIDI devices like keyboards etc.
20.5 Yamaha MIDI Compatibility Since firmware 2.0 the Micstasy is directly compatible to Yamaha's mixing desk PM5D. It reacts on the Sysex commands. Adjustable are: Input Gain in steps of 1 dB (gain range -9 up to +63 dB) and Phantom power per channel. The Yamaha DM1000 / DM2000 consoles are not directly compatible, but still can remote control several Micstasys via MIDI. To achieve this, the MIDI Remote Layer function of the consoles have to be set so that they match the Micstasy’s SysEx remote protocol.
DM2000 On the ‘Setup – MIDI/Host’ page, choose ‘MIDI’ for the remote layer that is going to be used. Don’t forget to confirm your choice with ‘enter’! On the Remote pages 1 to 4, enter the SysEx commands described below for each channel. In the ‘Layer’ section, select the Remote layer 1 to 4 and select each channel with the ‘select’ button. We recommend the use of the encoders to remote control the Micstasy’s gain values.
The ‘channel gain coarse’ and ‘channel gain fine’ bytes have to be set according to the following table: Channel 1 2 3 4 5 6 7 8 coarse 00 03 06 09 0C 0F 12 15 fine 01 04 07 0A 0D 10 13 16 Note: Setting the ‘channel gain fine’ byte to 00 as described above also deactivates the AutoSet function. This is necessary, because the Micstasy’s gain settings are not transmitted to the console.
