Tag Archive: AD/DA converter

1. RME ADI-2 Series: High-class conversion for the studio and beyond

   19th March 2020 1:29 pm Comments Off on RME ADI-2 Series: High-class conversion for the studio and beyond

   The RME ADI-2 series combines class-leading conversion with a comprehensive feature set, setting a new standard for mastering-grade audio converters.

   The original ADI-2 Pro model is the brain-child of RME’s Head of Design Matthias Carstens, who designed it to be his own personal AD/DA converter and headphone amplifier (after he’d continually been disappointed other offerings on the market…).

   An early prototype was shown at several trade shows around the world. Such was the positive feedback – with many passers-by asking “when’s it going to be available?” – the decision was made to release the device publicly, and the ADI-2 Pro quickly took the crown of RME’s best-sounding device to date.

   The range has since been expanded into a selection of high-end recording and playback devices that cover a wide range of applications. Mastering engineers use the original ADI-2 Pro to handle front-end conversion duties, whilst Hi-Fi enthusiasts continue to be impressed by the ADI-2 DAC FS, for its combination of exquisite DA conversion and powerful headphone amplification.

   With the entire product series built into compact half-rack 9.5” casings, each one packs a huge amount of features and I/O into a reference-class audio device that can easily slot into even the smallest of studios.

   SteadyClock FS

   Every product in the ADI-2 series features RME’s SteadyClock FS clocking technology. This new and improved version of SteadyClock guarantees superb sound regardless of the reference clock quality.

   There is little to improve with the original SteadyClock, having earned its accolades over the years with flawless operation in numerous RME devices. SteadyClock FS improves on some already impressive figures by lowering the self-jitter specs to “FemtoSeconds”, and guarantees the internal clock produces exactly the same when using an external one.

    

   RME ADI-2 Series Overview at NAMM 2020

   See more videos at Synthax TV

    

   RME ADI-2 FS

   The ADI-2 FS takes a “no-frills” approach to audio conversion, taking the same advanced analogue circuitry of the award-winning ADI-2 Pro and offering outstanding conversion at up to 192kHz. Incredible audio quality and an attractive price are just two things that make the ADI-2 FS a fantastic and affordable entry point into RME’s professional converter series.

   Its first-class conversion is further bolstered by its outstanding compatibility. The ADI-2 FS features two balanced analogue inputs via XLR/TRS combo connections and dedicated XLR and line level outputs, for capturing signals from an analogue mixing console or other high-end outboard gear. Like the ADI-2 Pro, the analogue inputs offer outstandingly low noise and distortion values, as well as an extended frequency response (right down to 5Hz!).

   Additionally, the available digital I/O covers SPDIF, AES and ADAT formats, allowing for quick connection to a range of setups, with ADAT I/O in particular found on a wide range of audio interfaces from any manufacturer. As such, studio users can easily integrate the ADI-2 FS into their existing setup simply by connecting an ADAT optical cable (or two) to both devices, instantly benefitting from the high-end sonics of the ADI-2 Series.

   The ADI-2 FS features an easy-to-operate front panel, with input and output monitoring at a glance and level control available at the turn of a knob.

   Like the rest of the ADI-2 series, the ADI-2 FS features a high-quality, high-power headphone output. This is based around the proven High Power output found on many of RME’s other products, and with a maximum output level of +19 dBu and very low output noise, the ADI-2 FS operates universally with all headphone driver types.

   Click here for more on the RME ADI-2 FS

    

   RME ADI-2 Pro FS R Black Edition

   Building on the incredible, reference-class conversion of the ADI-2 Pro FS, the ADI-2 Pro FS R Black Edition is the perfect choice for a wide variety of professional audio applications.

   The Black Edition adds a sleek all-black look and a comprehensive multi-function remote control to an already impressive package (scroll down for more on the remote) – with these additions, the new-look ADI-2 Pro FS R is now also the perfect companion for hi-fi enthusiasts, alongside its use as a professional studio tool.

   A large front panel display allows for easy viewing of a whole host of features, which include 5-band parametric EQs; adjustable Bass/Treble controls with quick access; a binaural crossfeed function (more on that below); adjustable loudness filters and many more. In addition, the display is also used to show warning and guidance messages, whenever a problem is detected with the connections.

   

   Flexible I/O

   In terms of connectivity, the two servo-balanced analogue inputs on combo XLR / TRS jacks, two separate balanced and unbalanced outputs on XLR and TS, two stereo Extreme Power headphone outputs on the front, an optical SPDIF I/O that also understands ADAT, and coaxial SPDIF (RCA) and AES I/O (XLR) via an included breakout cable. 

   What’s more, the ADI-2 Pro FS R’s USB 2.0 port is fully Class Compliant. This means the incredible audio conversion of the ADI-2 Pro FS R is available for use with an iPhone or iPad.

   Ultra-Fidelity 768kHz conversion

   Aiming for the absolute reference sound, any detail in the ADI-2 Pro is special and has its own story. Supporting 786 kHz sample rate and DSD recording, two individual premium DACs are used for the two separate stereo outputs. The main PCB is an extraordinary 10 layer design with custom copper thickness, guaranteeing the finest undisturbed sound, as well as ample but separated power for the phones outputs.

   Advanced Features – EQ, Loudness and Crossfeed

   Both the ADI-2 DAC FS and ADI-2 Pro FS R feature on-board DSP processing, enabling advanced features like applying corrective EQ to all outputs (including separately for left and right channels), and a re-designed version of the ‘Loudness’ function found on many traditional Hi-Fi devices (see p14 of the RME ADI-2 DAC manual for a more detailed explanation).

   Another powerful (and fun!), easily overlooked feature is ‘Crossfeed’. Traditionally when listening to music through headphones, audio is played back exclusively from the left and right channels, with no overlap between the two. When listening to live music or through speakers however, sound is of course hitting our ears from all directions, both from the location of the performer / speakers, and from reflections off of any nearby walls and surfaces.

   With Crossfeed applied, small amounts of the left channel are fed into the right channel and vice versa, resulting in a more natural listening experience which is closer to that of using speakers. This effect has also been described as giving digital audio a more ‘analogue’ sound, as explained by Alan Sircom in his ADI-2 DAC review for HiFi+ magazine. “This gives headphones a more out-of-head presentation and makes digital seem a little more like a turntable, in all the right ways” Alan writes. “The sound takes on a depth to the image and an organic sense of physical presence that those of us firmly dunked in analogue replay will love.”

   With the ADI-2 DAC and Pro FS R, Crossfeed can be applied in 5 increasing increments (or switched off entirely), giving you plenty of options to play with if you’d like to experiment with this unique aspect of headphone audio;

   1: 650 Hz, -13 dB (just a touch)

   2: 650 Hz, -9.5 dB (Jan Meier emulation)

   3: 700 Hz, -6 dB (Chu Moy emulation)

   4: 700 Hz, -4.5 dB (30° 3 meter emulation)

   5: 700 Hz, -3 dB (example how even stronger would sound)

   Click here for more on the RME ADI-2 Pro FS R Black Edition

    

   RME ADI-2 DAC FS

   Whilst the ADI-2 Pro FS R BE lends itself equally towards the needs of studio professionals, RME knew that with some innovation, a version could be created to meet the specific needs of home and Hi-Fi users.

   The RME ADI-2 DAC FS is the result of these innovations – a reference-class USB-DAC and Extreme Power headphone amplifier.

   Reference-class DA conversion at home

   Operating up to the same incredible 768kHz sample rate as the ADI-2 Pro FS R, the ADI-2 DAC FS focusses on providing reference class DA conversion for a glorious, high-end listening experience.

   The ADI-2 DAC FS also uses AKM’s AK4493 chipset in a special circuit variant developed by RME engineers that allows the chip to perform at its best. The operating figures are simply outstanding, with noise levels of 123 dBA, distortion less than -120 dB, or THD+N of -117 dB.

   Much like its studio-centred counterpart, the DAC has versatility at its heart, with balanced and unbalanced analogue I/O; Extreme Power headphone output and a dedicated low-noise connection for IEMs; and Class Compliant USB compatibility. This compatibility makes it perfect for improving the output of an iPhone or iPad, with the connection made via a USB cable and Apple’s Camera Connection Kit.

   Extreme Power Headphone Output

   Hi-Fi enthusiasts wouldn’t be without high-quality headphones for solo listening, reproducing every nuance of the sound they are playing. Modern headphones and in-ear monitors are incredibly detailed and sensitive with a dynamic range to match. For this reason alone, a headphone amplifier that does them justice is an absolute necessity.

   That’s why the ADI-2 DAC FS features the same Extreme Power headphone output as the ADI-2 Pro FS R, offering unparalleled low noise performance even with low impedance headphones.

   AutoDark Mode – performance without distraction

   The finishing touches of the ADI-2 DAC FS fits it perfectly into any modern hi-fi or home audio system, with the inclusion of the all-new Multi Remote Control (see below) and AutoDark mode.

   Operation without distraction was a request made time and again by Hi-Fi users – as such, the RME ADI-2 DAC FS includes an ‘AutoDark’ mode, automatically switching off the screen and any lighting for totally discreet operation. Using the remote will switch the screen back on again for 3 seconds, allowing you to see the control change, before disappearing again.

   Small touches like these has seen the RME ADI-2 DAC FS quickly rise to become an important player in the Hi-Fi market, with a flood of positive reviewers praising the clean conversion RME is already so well known for in the world of studios and live audio.

   Read one of many outstanding reviews of the ADI-2 DAC FS

   Click here for more on the RME ADI-2 DAC FS

    

   Multi Remote Control

   As previously touched on, both the ADI-2 DAC FS and ADI-2 Pro FS R come complete with RME’s brand new Multi Remote Control.

   Unlike many remotes, the MRC is no mere afterthought. Versatile by design, the MRC provides buttons for standby on/off, volume, balance, bass and treble, input selection (optical, coaxial, USB), mute, on/off loudness, bass/treble and EQ. In addition, there are four programmable buttons that provide access to various functions and commands for maximum flexibility.

    

   ADI-2 Series: Reference-class sound for the studio and beyond.

   With truly reference-class sound and thoughtful feature sets, each member of the ADI-2 family helps to solidify RME as a developer of outstanding AD/DA converters for both studio and domestic users.

   Whatever the application, the RME ADI-2 Series delivers the performance, features and flexibility for upgrading any audio setup to reference-class, high-end AD and DA conversion.

    

   ---

   If you’d like to know more about any of RME’s audio interfaces, soundcards, AD/DA Converters or microphone preamps, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
   You can also contact us here.

   

2. Pro Tools Expert reviews the Ferrofish A32 Dante – Synthax Audio UK

   20th September 2018 4:22 pm Comments Off on Pro Tools Expert reviews the Ferrofish A32 Dante – Synthax Audio UK

   James Ivey puts the Ferrofish A32 Dante through its paces for Pro Tools Expert

   Read the full review here

   Pro Tools Expert’s James Ivey has given us his thoughts on the Ferrofish A32 Dante, the 32-in / 32-out AD/DA converter with MADI and Dante from German manufacturer Ferrofish.

   As opposed to the usual bench-test review, James took the A32 Dante out on a recording job for his company Location Recordings, which specialises in location sound and video recordings of live music, putting the Ferrofish to task on recording, monitoring and signal routing for a recording of the Nation Children’s Choir of Great Britain at the Town Hall in Birmingham.

    

   “I can see hundreds of uses for the A32 both live and in the studio.”

    

   

   Along with the sound quality, of which James found that “the audio that went in came back out sounding just as good”, he was also particularly impressed with how easy the A32 Dante is to operate. The A32 Dante’s front panel is intuitive and simple to operate, and the 4x TFT displays show level metering for all 64 channels simultaneously.

   And like many other reviewers, James found the menu system very easy to get to grips with, writing “With any piece of kit, there can be a learning curve to its menus and file structure, but I was very quickly able to navigate the menus and sub-menus to get the unit configured and clocked correctly.”

    

   “If you need audio conversion and signal spitting,
   this unit is worth a serious look.”

    

   James also found the on-board headphone output came in handy, which is useful for problem-solving as it allows for monitoring of all incoming and outgoing audio signals individually, making it super-easy to troubleshoot even when working with a high number of channels.

    

   “I have used many different analogue splitters and converters with differing results,
   but the Ferrofish A32 Dante is a unit I will call on again.”

    

   Read the Pro Tools Expert review of the Ferrofish A32 Dante here

    

   Ferrofish A32 Dante – 64 channel converter with ADAT, MADI & Dante

   The Ferrofish A32 Dante is a 64-channel analogue and digital audio converter from Ferrofish Gmbh, with support for 64 channels of MADI and Dante I/O; 32 channels of ADAT optical I/O; and 32 channels of analogue I/O.

   The four on-board TFT screens provide complete control of all levels and adjustments, including the device’s extensive routing capabilities. Any input signal (in groups of 8) can be routed to any output signal, and the dual-redundant power supplies provide an additional level of failsafe. The on-board headphone amplifier adds monitoring capabilities direct from the device.

   The A32 Dante also features impressive remote control operation via Dante, MIDI, and USB. Remote operation via MIDI over MADI is also possible, providing remote control of the A32 Dante via the same MADI cable that carries the audio signal.

    

   Read the Pro Tools Expert review of the Ferrofish A32 Dante here

   Find out more about the Ferrofish A32 Dante

   ---

   If you’d like to know more about Ferrofish AD/DA and format converters, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo. You can also contact us.

3. RME ADI-2 Pro Review By AudioXpress

   15th November 2017 3:04 pm Comments Off on RME ADI-2 Pro Review By AudioXpress

   Technology magazine AudioXpress gives their verdict on the RME ADI-2 Pro Headphone Amp & AD/DA Converter. Click here to read the full review.
   

   Since its release last year, RME’s top of the range 2-channel converter has been regularly turning heads in both pro audio and HiFi circles. The brainchild of RME's head designer Matthias Carstens, RME have pulled out all the stops with the ADI-2 Pro, combining an extensive list of useful features with pristine sound quality and an extremely competitive price. Sound On Sound described it as delivering "similar technical performance to units costing significantly more, while offering greater flexibility" in their review, and HiFi magazine Headfonics remarked that "RME is the Switzerland of the audio world and the ADI-2 Pro is its showpiece pocketknife. This device has more functions than Japan’s idol group AKB48 has members."

   The latest review comes from AudioXpress, the American website that specialises in the latest trends and technological developments in audio, acoustics and electronics. Reviewers Bennett Prescott and Stuart Yaniger have given an exhaustive analysis in their detailed 5-page review, including a series of critical bench tests.

    

   "The AD half of this unit does not let down the superb performance
   of the DA and headphone amps. All in all, the
   bench test performance of the ADI-2 Pro is flawless."
   

    

   Describing how the ADI-2 Pro faired in these aspects, AudioXpress found the ADI-2 Pro's inputs to be "textbook clean, an outstanding result. I ran this test two ways, using an AES input and using the analog inputs to exercise the AD converters. The results look identical, so the AD half of this unit does not let down the superb performance of the DA and headphone amps. All in all, the bench test performance of the ADI-2 Pro is flawless. The sound can be tailored using the filter options or equalization if a departure from neutrality is desired."

   The review concludes with a comment on the versatile appeal of the ADI-2 Pro, stating that “It’s very hard to find a piece of gear that appeals to studio purists, audiophiles, pro audio engineers, and measurement experts. The RME ADI-2 Pro may have enough horsepower to make everyone happy. It can drive any headphone at any conceivable volume, convert analog sources to digital with zero compromise, output any digital source to multiple formats at multiple clock rates, and even equalize headphones to match monitors and monitors to correct for room modes. If you want one box to put on your desk or take with you on tour that does it all, I suggest you take a close look at this great converter from RME.”

   Click here to read the full review

   For more audio related news and reviews, visit www.audioxpress.com

   Find out more about the RME ADI-2 Pro

    

   

    

   ---

   If you'd like to know more about RME's pro audio solutions, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
   Alternatively, you can contact us here.

4. RME M-Series AD & DA Converters With Immersive Audio’s Marco Perry

   12th October 2017 4:48 pm Comments Off on RME M-Series AD & DA Converters With Immersive Audio’s Marco Perry

   Immersive Audio specialist Marco Perry speaks to us about large-scale audio installations, designing and mixing spatial audio experiences, and using RME M-Series AD & DA Converters
   

   Marco Perry is a London based composer, engineer and producer with over 30 years experience in recording, mixing and live music. His company Immersive Audio specialises in creating spatial and 3D audio installations for events, performances and venues around the world, regularly collaborating with the likes of Bjork, Rob Del Naja (of Massive Attack), Chris Levine (Canadian Lighting artist) and production engineer Tyler LeDent, and the Eden Project.

   Marco's mobile setups frequently include a selection of RME M-Series Converters, and his studio in London is kitted out with  with RME MADI cards. Having recently finished a number of events, including a large-scale installation at the Dark MoFo Festival in Tasmania for Chris Levine's iy project, Synthax Audio UK spoke to Marco about his approach to 3D sound, and to get his opinion on the evolution and future of immersive audio experiences.

    

   Tasmanian Devils – RME M-Series Converters At Dark MoFo Festival 2017
   

   “I sourced the sound system locally from the very helpful and sympathetic Nick Morse at PLMS in Hobart" Marco told us. "Each tower with an 8 box hang of D&B including flown subs plus infra subs on the floor."

   "ER Productions delivered a metric ton of lazers, hazers, foggers, LED's control systems etc. Another 150KG's of our audio control gear was flown in from London. The Immersive Audio Ltd London team designed special software for sound control and object based audio in the installation.”

   “The soundscape for this was created with my long time musical collaborator David Clayton and Rob Del Naja from Massive Attack. Chris and Ty worked together to choreograph the One hour laser program, which was synched to our audio.”

   "I began in my London production studio where we have a 43 loudspeaker production and mix rig, which can be configured appropriately for any spatial audio production and mixing work. The AD and DA conversion is always performed via RME M-Series converters, firstly due to the sound quality, but also the reliability too."

   “Ultimately as usual, on site live mixing was required to best decode the audio program on this extraordinary sound system. Hobart winter nights in June are c…c…cold! Fortunately, I was able to set up a temporary studio in a nice warm ground floor office overlooking the site, and to refine the content on a 3-point Jerry rigged loudspeaker system. When I was confident with the parts and had experimented with additional performance effects, I moved a mobile audio control system to the centre of the circle and mixed the whole piece live from there.”

   “I recorded this performance with all the live desk and effects feeds. These movements and the object pans and levels then became the basis for the subsequent one-hour playback performances of the work, 4 times a night at the festival. We were still able to tweak both the audio and the visual program whilst running it live – both Tyler [LeDent] and myself made further adjustments along the way. It is indeed a work in progress both in art and tech.”

   “I was also required to design and produce another audio installation to be performed in a huge 40 x 120 metre-long tin shed at the dock side in Hobart. This featured a large hanging laser cross projecting end to end in the shed, and other visual effects to accompany another original sound track, again composed and produced with David Clayton using our AKA “Mighty Monks". The resulting audio production came together as a rumbling, shaking, mind-bending audio-scape journey of 20 minutes. It ran on rotation in there as a complementary piece to the outdoor composition.”

   “Back in London I'd finished pre-production on this, having made a guesstimate of what would work in this shed, and essentially I was balancing and mixing the parts and stems I’d created in object based audio, which I did on site. Again I used custom software, built for me this time by my good friend and Immersive Audio Ltd colleague Mr Dave Hunt.”

   “This ambisonic system works well in there over a 6 point D&B system, with subs and full range boxes on poles positioned around the area. The whole shed resonates and echoes naturally like one huge living, breathing animal. The response inside the shed has been amazing, the punters genuinely affected… in really good way! Fun to observe and hear them as they walk the 200 metres over rough ground between the two art works, which are also connected by another triangular laser beams moving sculpture, fired onto the shed wall from the outdoor 3 point system towers. I love to be like a fly on the wall, and to observe reactions in any of my work. This one has been most satisfying.”

   

   Marco Perry on Immersive & Spatial Audio
   

   Although experiments with spatial audio have be around since the 1930s, it's the recent advances in VR that's arguably driving the current interest in 3D audio. Marco was happy to give us his thoughts on this continually evolving technology.

   “Large and emerging VR companies like Magic leap, along with Apple, Microsoft, AMD, Sony, Samsung HTC and all the rest including gaming companies, are most likely 90% of the driving force behind the resurgence in spatial audio interest, because positional audio information in a VR headset is important, and binaural information is useful for this in headphones.”

   “The Binaural algorithm specific to you can be calculated for your own HRTF (Head Related Transfer Function). This is the ability that your brain has to derive the information it receives from your ears, that let's it know where you are based on audio reflections in the environment. It will give you directional clues that tell you where a sound is coming from, going to, the acoustics of the space, and much more information besides.”

   “Of course there are arguments from industry pros and engineers. For my own part, I believe that a binaural decode for VR is often best derived from an ambisonic sound field, and the use of 360 degree convolution reverb is crucial to creating the experience, either static or in a real time interactive experience.”

   “I have worked on projects mixing for Virtual Reality experiences in my production studios, and it really is like compiling and producing content for a film. Reverb, along with delay, amplitude and panning, are an important part to the trick of convincing the brain into believing it is really in that space. This is often a neglected feature when physically moving in VR experiences. Other more static VR and also AR (augmented reality) experiences can be enhanced to work with more conventional techniques.”

   “Apple took the UK 2 Big Ears Company to develop their 3D audio concepts. Google and Facebook have now gone 360°, with Facebook / Oculus VR releasing their own audio visual tools for commercial use and content creation.”

   “Headphone companies are also re-visiting spatial audio techniques, and new ones are emerging which use multiple transducers, specifically for best binaural decoding, and even incorporating self analysing HRTF functions, so you can personalise your listening experience. For VR this is particularly useful, as we can thereby get the correct size of our individual heads dialled into the equation!”

   “At Immersive Audio we can cater for all VR, AR and binaural formats. We can enhance and augment with wireless headphones, and in installations we can deploy interactive sensors and motion triggers. However, we do specialise in live amplified audio content, and where possible we prefer the ability to experience and share the moment with our fellow humans without wearing HMD's (head mountable devices)”.

   “I have always preferred to stay format agnostic, so on my spatial audio rig in the I A production studios in Wandsworth, we can cater for all types of audio decodes. Ambisonic, Wave field synthesis, Barco Iosono systems, Dolby Atmos, Auro 3D methods, and all surround sound types in various formats, as well as other psycho acoustic techniques, which we can decide to use to create the most appropriate sound design, for any installation of any size, anywhere. So it’s become like a lab for us to try things out on our 3D audio production rig.”

   So, does Marco see more artists and bands using immersive audio in their live shows? “Absolutely – it won’t go backwards from here! Pink Floyd were way ahead of their time, and Tangerine Dream too. It’s certainly something that I believe more and more artists will want to be involved in, and I’m part of that, and it’s very exciting to be so!”

   "We've also seen clubs beginning to embrace immersive audio experiences. Ministry of Sound for example – I used RME to create the first Ambisonics installation in Ministry of Sound! I was actually the first to use spatial audio there, before dolby atmos, upmixing stereo to a 3D audio mix.”

    

   Marco Perry on RME Audio M-Series AD/DA Converters
   

   “In the work I do worldwide we just can't afford to have anything go wrong, or be worried about downtime in any installation system design in multichannel audio. Rock solid reliability is an absolute priority. I'm currently working with a well known artist on the application of a live multichannel loudspeaker set up, using beam steerable loudspeakers and line arrays in a multichannel art installation, which may use up to one hundred channels of RME D/A! Whichever format or most appropriate hybrid system we create for Immersive Audio installations and events, I always choose to use Synthax supplied RME AD and DA converters."

    

   See more videos at Synthax TV

    

   Unlimited routing & mixing with TotalMix FX
   

   TotalMix FX is RME's comprehensive routing and mixing software that's included with all RME audio interfaces, along with RME's set of analysis tools DIGICheck. TotalMix essentially turns each audio interface into a full-blown mixing desk, complete with a 3-Band EQ plus Reverb and Delay on every channel, and unlimited routing functionality. Different sub-groups can be set up very quickly, providing individuals with their own personalised mixes, and can even be used with an iPad via the TotalMix app.

   “TotalMix FX is brilliant. Once you get your head around it, it makes perfect sense. It’s a really good system. There’s a lot of possibilities there, and there’s clearly a lot more you can do with it than what I currently use it for."

   "For someone who’s running a project studio or a smaller pro studio, Totalmix is a really great option – you really don’t need much more, you can pretty much do it all in the box! And you can accommodate engineers who are using different software."

   "Regardless of your DAW it can easily be incorporated, and when different users who are used to using different DAWs collaborate, they can use TotalMix without having to go into different routing matrixes. And that speed of workflow is of course really important!"

    

   Our thanks to Marco Perry. Marco is a member of the Audio engineering society and the Music Producers Guild. His recent and upcoming projects include the creation of multi-channel installations in Moscow; Dubai; Houston, Texas; Skyfest in Barcelona; the Eden Project; and the BODE museum in Berlin.

   You can find out more about his work by visiting www.immersiveaudio.net

   Find out more about RME's professional AD and DA Converters

   Find out more about RME MADI solutions

   ---

   If you'd like to know more about any of the RME pro audio solutions mentioned in this article, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
   You can also contact us here.

5. Ferrofish in use for Spatial Audio and VR technologies at Southampton Solent University

   27th July 2017 4:17 pm Comments Off on Ferrofish in use for Spatial Audio and VR technologies at Southampton Solent University

   Synthax Audio UK speaks to Andrew Horsburgh, Lecturer in Media Technology at Southampton Solent University, about using the Ferrofish A16 MK-II for surround sound, spatial audio and VR.
   

   Offering a broad range of media technology degrees that include audio engineering and broadcast systems engineering, Southampton Solent University is naturally home to a state-of-the-art media academy.

   However, it’s the innovative research work conducted at Solent that prompted Synthax Audio UK to get in touch with Andrew Horsburgh, Senior Lecturer in Media Technology, about his use of the Ferrofish A16 MK-II multi-channel interface.

   Andrew explains, "Here at Solent we're always looking to work with the latest technology – either in video or sound. In recent years the two have aligned, using virtual reality (VR) and high dynamic range visuals with Dolby Atmos, and we've recently built a new laboratory to help our students get a grasp of what's possible today in VR."

   The design of the room required close collaboration between the audio- and visual-focused teams within the department, with Andrew outlining the room's sound system: "The room has been designed around immersive technologies – specifically VR and spatial audio."

    

   “Previously we had two 5.1 rooms that catered for the surround sound aspect, but nothing that really tied into the larger channel counts and independent listening arrays that our research projects require."

   The choice of a Ferrofish was easily made, Andrew says, "because of the high sample rates, the MADI interface, front-panel metering, and internal mixer. Going beyond eight analogue outputs that can be fed a clocked signal and have their outputs controlled as a group is absolutely essential. The Ferrofish gives us complete control over our inputs and outputs with ease.”

    
   

   “The Ferrofish gives us complete control
   over our inputs and outputs with ease.”
   

    

   Ferrofish A32, A32 Dante & Pulse 16 AD/DA Converters
   

   German manufacturer Ferrofish specialises in the production of compact and cost-effective AD/DA converters, designed to meet the needs of professional audio projects that require a high channel count. A popular choice for studio, broadcast and installations, Ferrofish have also continued to find success in the live music sector, with artists including Disclosure, Ellie Goulding, Olly Murs and One Direction, Lily Allen and Emeli Sandé all featuring Ferrofish as part of their touring rigs.

   The range has also been extended in recent years to include the Ferrofish A32, which manages to pack even more channels into a single 1U housing, with 32 analogue inputs and 32 analogue outputs, plus both ADAT and MADI I/O. The digital connectivity options have also been further expanded with the release of the Ferrofish A32 Dante, which adds an additional set of I/O for the increasingly popular Dante format.

    

   

   The Ferrofish A32 Dante is the company's latest high-channel AD/DA converter, and features analogue, ADAT, MADI and Dante I/O.

    

   With Ferrofish continuing its ongoing research into cutting-edge audio technologies, the Ferrofish A16 MK-II was recently discontinued, in order to make way for the arrival of the new Ferrofish Pulse 16. Featuring the same silver-front panel of the Ferrofish A32, the Pulse 16 combines the updated specification and components of the A32 with the 16 in, 16 out design of the A16 MK-II. Other features include the newly updated informative TFT displays, with comprehensive full channel-metering for all inputs and outputs from the unit itself; an onboard contextual manual, quickly accessible at any time via the displays; 96 kHz operation for all channels via S/MUX; and remote control of the unit via MIDI. A version with MADI I/O is also currently in development, and should be available later this year.

    

   

   Ferrofish recently introduced the Ferrofish Pulse 16, the new update to the Ferrofish A16 MK-II.

    

   Mixing and routing with multiple outputs
   

   Andrew explained the technical challenge of dealing with the outputs. "The newly installed system features 26 Genelec 8020 loudspeakers, and four accompanying subwoofers – with each output coming from the computer via a MADI stream.”

   “Our subwoofers are fed on a separate matrix for flexibility and the Ferrofish allows us to both feed it signals and adjust the gains digitally with no signal degradation. Spatial audio and the creation of auditory images requires the output hardware to be as transparent as possible. Without the Ferrofish, providing the results that we do would be much harder."

   So, is managing so many loudspeakers and complex routing difficult? "Not at all! The students can save presets of calibrated values for their mixing projects, and I can save presets of installations and loudspeaker rig sizes. Recalling those make the rigging and de-rigging when we take our system out to demonstrations much easier."

    

   "The reliability, build quality, ease of use, and most
   importantly the sound quality – they’re all fantastic.”
   

    

   "The reliability, build quality, ease of use, and most importantly the sound quality – they’re all fantastic. We'll certainly consider Ferrofish next time we expand our loudspeaker setup!"

   Our thanks to Andrew Horsburgh and Southampton Solent University.

   If you like to know more about the extensive range of courses on offer at Southampton Solent, visit the university's website here.

    

   Find out more about the Ferrofish Pulse 16

   Find out more about the Ferrofish A32

   Find out more about the Ferrofish A32 Dante

    

   ---

   If you'd like to know more about the pro audio solutions manufactured by Ferrofish, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
   You can also contact us here.

6. RME Announce Major Updates for ADI-2 Pro and Anniversary Edition

   3rd May 2017 12:19 pm Comments Off on RME Announce Major Updates for ADI-2 Pro and Anniversary Edition

   RME have announced the release of a major firmware update for the ADI-2 Pro and AE (Anniversary Edition), which substantially extends its functionality, usability and operation.
   

   The ADI-2 Pro has already produced many gushing compliments from the most respected of industry reviewers. "All it lacks is competition" and "I can’t think of another two-channel A-D/D-A converter that can match the ADI-2 Pro’s versatility, and few can match its technical performance" are just two of the many summations.  

   And now with this latest firmware release, the RME team adds even more exciting and unique features that turn the ADI-2 Pro into a reference of its own.

   The list of new features, changes, and extensions is long, but possibly the most significant are the rewriting and restructuring of parts of the DSP code resulting in lowered resource usage. This has allowed RME to activate the full frequency range for the third EQ band, which can now operate down to 20 Hz.  The freed DSP resources have also allowed for a major overhaul of the handling of channels 1 and 2, volume control features on the rear outputs as well as optimised digital volume control to preserve a full 190 dB distortion-free resolution on the digital outputs.

   Further additions include tint control over the ADI-2 Pro’s LCD screen and the ability to quickly and easily see overload with the big Volume numbers now flashing red on hot signals. The GUI has not been missed either, optimisations include some newly programmed controls including encoder increments, as well as extended pan and EQ control. 

   Other new functions include the ability to turn the bass and treble on and off, which is essential for auditioning EQ settings, and toggling between phones and rear outputs in the controls means that you no longer have to plug/unplug your headphones. The designers have also implemented a whole bunch of new mute functionality which are useful options for those who prefer a single button solution.

   We’ve only scratched the surface of the updates here, so you can find a complete list and explanations of all the new fixes, functions and features here by visiting the dedicated post on the RME forum here; 
   www.forum.rme-audio.de/viewtopic.php?id=25454

   All the necessary related files (Bit Test, firmware update, driver update, manuals) can be found here;
   http://www.rme-audio.de/en/products/adi_2-pro.php#7

    

   Find out more about the RME ADI-2 Pro

   Find out more about the RME ADI-2 Pro Anniversary Edition

   ---

   If you'd like to know more about RME's pro audio solutions, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
   Alternatively, you can contact us here.

7. RME ADI-2 Pro Anniversary Edition at Musikmesse 2017

   11th April 2017 4:04 pm Comments Off on RME ADI-2 Pro Anniversary Edition at Musikmesse 2017

   RME gives us a sneak preview of the RME ADI-2 Pro Anniversary Edition at Musikmesse 2017, a special limited edition of the RME ADI-2 Pro that will be restricted to only 500 units worldwide.
   

   We recently reported that a few lucky members of the Synthax Audio UK team got a first look at the new RME ADI-2 Pro Anniversary Edition at Musikmesse 2017. The original version has been available for a few months now, and it's been receiving consistent recommendations from reviewers, most recently in an excellent and detailed writeup from Sound On Sound magazine.

   A mastering-grade headphone amp and DAC, the ADI-2 Pro has really struck a chord with users from a variety of backgrounds. From mastering engineers and musicians who need a reference-class monitoring solution, to audiophiles who are on a search for the holy grail of headphone amps, the ADI-2 Pro has received warm approval for its highly detailed and transparent audio conversion and unique, intelligent and practical feature set.

    

   

   The original ADI-2 Pro prototypes, with their perspex top panels, were a popular talking point among visitors to the London CanJam show back in 2016.

   RME ADI-2 Pro AE – Black housing with perspex top
   

   When we first took the original ADI-2 Pro prototypes along with us to various high-end HiFi shows, many visitors commented on how much they liked the perspex top, which allowed you to get a look at the impressive amount of components that have been perfectly arranged in the small 1/2U housing.

   Whilst this part of the design was initially only intended for the prototypes, we passed this feedback on to RME's Head of Design Matthias Carstens. Needless to say, Matthias liked the idea so much that he decided to create a special run of limited edition ADI-2 Pros, designed specifically for the world of HiFi.

   And so the RME ADI-2 Pro AE was born! Boasting the same great sound and functionality of the original, the ADI-2 Pro AE is housed in a slick black casing, and features the aforementioned perspex top, so you can check out this feat of German engineering in all its glory. In the past, RME have tended to keep all of their pro audio products in a similar silver and blue styling, however as this version is designed to meet the needs of HiFi enthusiasts, it instead comes in an all-black finish. We think you’ll agree the result is one sharp looking device that will fit perfectly into any high-end HiFi setup!

   On top of this, production will be strictly limited to only 500 units worldwide, making the RME ADI-2 Pro AE a real collector's item.

    

    

   RME ADI-2 Pro AE – Smart new look, same great sound
   

   The RME ADI-2 Pro AE shares all of the same great features and functionality of its namesake, including two servo-balanced analogue inputs on combo XLR/ TRS jacks, two separate balanced and unbalanced outputs on XLR and TRS, two stereo 'Extreme Power' headphone outputs on the front, an optical SPDIF I/O that also understands ADAT, plus coaxial SPDIF (RCA) and AES I/O (XLR) via an included breakout cable, and class-compliant / plug and play use with a Mac or PC via USB.

   There's also a a high-resolution frequency analyser and metering, plus an onboard 5 band parametric EQ for tuning your headphones, with the ability to store up to 10 EQ states, so you can create the perfect EQ curve for each pair of headphones you own.

    

   On top of this, the left and right channels can be EQ’d independently of one another – perfect if you have hearing problems in only one of your ears!

   UK customers can also benefit from a 5 year warranty, which is included as standard on all RME products when purchased from an authorised UK dealer.

   Find out more about the RME ADI-2 Pro Anniversary Edition

   Find out more about the RME ADI-2 Pro

    

   ---

   If you'd like to know more about RME's pro audio solutions, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
   You can also get in touch with us via our contact us page.

    

8. Musikmesse 2017 – Ferrofish Pulse 16 & Verto Series Dante Converters Videos

   7th April 2017 4:27 pm Comments Off on Musikmesse 2017 – Ferrofish Pulse 16 & Verto Series Dante Converters Videos

   Synthax Audio UK caught up with Jürgen Kindermann of German pro audio manufacturer Ferrofish at Musikmesse 2017 in Frankfurt, to discuss the new Pulse 16 AD/DA Converter and the Verto Series Dante Converters.
   

   Ferrofish Pulse 16 ADDA Converter – Musikmesse / Prolight & Sound 2017
   

   
   Watch more videos at Synthax TV

    

    

   Ferrofish Pulse 16 ADDA Converter
   

   Designed to provide a compact and cost-effective method of adding more analogue I/O to your recording setup, the Ferrofish Pulse 16 features 16 analogue inputs and 16 analogue outputs on TRS; four ADAT I/O ports, which provide use of all 32 channels even in 96 kHz SMUX mode; two TFT displays with detailed level information for all 32 channels; and a headphone output for monitoring all incoming and outgoing signals.

   Like its sibling the Ferrofish A32, the Pulse 16 also features a simple and intuitive menu system, allowing for complete user control via the TFT screens found on the front panel. The device can also be upgraded to include MADI I/O, turning it into the Ferrofish Pulse 16 MX.

   Find out more about the Ferrofish Pulse 16

   Find out more about the Ferrofish Pulse 16 MX

    

    

    

   Ferrofish Verto Dante Converters – Musikmesse / Prolight & Sound 2017
   

   
   Watch more videos at Synthax TV

    

    
   

   Ferrofish Verto Dante Converters
   

   The Ferrofish Verto series is a range of compact digital format converters, designed to provide simple integration of ADAT and MADI devices into an existing Dante network.

   Each Verto device features word clock I/O for external synchronisation and is remote controllable via MIDI or MIDI over MADI (Verto MX). Whether paired with Ferrofish’s own A16 MK-II, A32 or Pulse16, or another brand’s converter, the Verto provides support for all devices when connected via ADAT or MADI.

   Like all Ferrofish converters, the Verto Series can be controlled remotely via the Dante Network. When all devices are connected via MIDI, the VERTO converts all Dante audio streams to ADAT or MADI, and the control commands sent over Dante into MIDI remote control messages.

   Find out more about the Ferrofish Verto Series

9. “Cons? None!” – RME ADI-2 Pro reviewed in Sound On Sound

   31st March 2017 2:20 pm Comments Off on “Cons? None!” – RME ADI-2 Pro reviewed in Sound On Sound

   RME ADI-2 Pro – “Cons – None” – Sound On Sound Review.
   Read the full review here.

   Sound on Sound has reviewed the new RME ADI-2 Pro AD/DA Converter and Headphone DAC in their latest issue, and they found lots to like about this latest cutting-edge AD/DA Converter. With RME having recently celebrated 20 years of pro audio manufacture and design, Head Designer Matthias Carstens decided to mark this milestone by creating his own ultimate headphone DAC.

   In true RME style, the ADI-2 Pro combines flexibility with high-end specs. Sonically, SOS reviewer Hugh Robjohns classed it in the same bracket as far more expensive converters, stating “the asking price is not insignificant, but it delivers similar technical performance to units costing significantly more, while offering greater flexibility and a useful suite of high-quality digital processing.”

    

   “In short, every test I performed was unreservedly superb!”

    

   Along with the highly accurate and transparent sound quality, the ADI-2 Pro also features an impressive array of additional features, such as onboard DSP processing, automatic recognition of different impedence headphones, sample-rate conversion, individual EQ for both left and right channels, plus a host of others just waiting to be discovered. Of the feature list, Hugh explains in the review that “working through the comprehensive manual revealed extra features and functions that impressed me on almost every page and highlighted a genuinely inspiring level of attention to detail”

   “Cons: None”

   The RME ADI-2 Pro is designed to perfectly capture and reproduce audio in its truest, unaltered form. With sample rates up to 768kHz for both AD and DA conversion, the ADI-2 Pro offers an unprecedented level clarity for both recording and playback. When you need the highest quality in a converter, the RME ADI-2 Pro is the most affordable and feature-rich high-end converter in RME’s range, making it perfect as a reference device for use in high-end audio applications such as mastering studios, scientific applications, or audiophiles looking for the ultimate headphone amp.

    

   “I can’t think of another two-channel A-D/D-A converter that can match
   the ADI-2 Pro’s versatility, and few can match its technical performance.”

    

   To read the review for yourself, check out the latest issue of Sound On Sound (April 2017), or visit the SOS website here.

   You can also read the full review here.

   Find out more about the RME ADI-2 Pro

    

   ---

   If you’d like to know more about RME’s pro audio solutions, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.
   Alternatively, you can contact us here.

    

10. Ferrofish to launch new Pulse 16 AD/DA Converter and Verto Series Dante Converters at Musikmesse 2017

    23rd March 2017 5:32 pm Comments Off on Ferrofish to launch new Pulse 16 AD/DA Converter and Verto Series Dante Converters at Musikmesse 2017

    Ferrofish to show 4 new products for the first time at the Musikmesse show in Frankfurt 2017
    

    German manufacturer Ferrofish has announced the addition of several new products to its existing line-up of pro audio solutions – the Pulse16 AD/DA Converter and the Verto³², Verto⁶⁴, Verto^MX Dante Converters. Both the Pulse16 and the Verto Series will be showcased to the public for the first time at this year's Musikmesse show in Frankfurt, Germany.

     

    Ferrofish Pulse16
    

    16 x 16 AD/DA <> ADAT converter
    

    With the Pulse16, Ferrofish continues their successful tradition of designing high-quality and affordable AD/DA converters, expanding the existing range that consists of the A16 MK-II, A32 and A32 Dante. The new Pulse16 offers 16 x 16 balanced analogue inputs and outputs, and can handle pro studio levels up to +20dBu. On the digital side, four ADAT I/O ports provide a full 16 x 16 channel operation even in 96 kHz SMUX mode.

    Full control and easy operation
    

    The headphones output on the front panel of the Pulse16 allows you to monitor every mono or stereo signal on the fly, and two TFT displays provide detailed level information for all 32 signals at a glance. The innovative on-board contextual help, much loved by A32 users, is also visible when navigating through menus and makes using the Pulse16 a breeze.

    Exceptional sound quality
    

    Using the most recent converter generation from Cirrus Logic combined with an active digital jitter reduction circuit results in an exceptionally detailed resolution and great overall sound.  Whether you’re working in 48 kHz or 96 kHz – the Ferrofish Pulse16 always delivers a full complement of 16 x 16 channels at the highest quality.

    Features
    

    • Cirrus Logic 24 Bit / 96 kHz converter
    • 16 x 16 analogue I/O channels
    • 16 x 16 ADAT I/O channels in 2 x 2 TOSLINK ports (4 x 4 @ 96 kHz)
    • Full 16 x 16 analogue channel count even at double sample rates (SMUX @ 96 kHz)
    • Wordclock I/O (BNC)
    • MIDI I/O for remote control
    • 2 x TFT screens giving complete control over all levels and system settings
    • Proprietary circuit for active jitter reduction
    • Input sensitivity of all analogue channels can be set in steps of 1 dB (-8 dBu to +20 dBu)
    • Output levels of all analogue channels can be set in steps of 1 dB (-8 dBu to +20 dBu)
    • Headphone Output
    • Fan-less design – no noise
    • 1HE, 19“ solid metal chassis 

     

    Ferrofish Verto³² / Verto⁶⁴ / Verto^MX
    

    Dante Digital converter
    

    The Ferrofish Verto series is a range of compact digital format converters, designed to provide simple integration of ADAT and MADI devices into an existing Dante network.

    Each Verto device features word clock I/O for external synchronisation and is remote controllable via MIDI or MIDI over MADI (Verto MX). Whether paired with Ferrofish’s own A16 MK-II, A32 or Pulse16, or another brand’s converter, the Verto provides support for all devices when connected via ADAT or MADI.

     

    

    Remote control via the Dante network
    

    Like all Ferrofish converters, the Verto Series can be controlled remotely via the Dante Network. When all devices are connected via MIDI, the VERTO converts all Dante audio streams to ADAT or MADI, and the control commands sent over Dante into MIDI remote control messages.

    The Verto MX also offers an additional feature: Instead of a separate MIDI Port, the MIDI messages are extracted from the MIDI-over-MADI port.

     
    

    Features
    

    	VERTO32	VERTO64	VERTOMX
    Dante	2 x RJ-45 Dante Port (Ethernet)
    Sample frequency	44,1 kHz – 96 kHz	44,1 kHz – 96 kHz	44,1 kHz – 192 kHz
    ADAT I/O	4 x TOSLINK	8 x TOSLINK	—
    MADI I/O	—	—	1 x optical
    I/O channelcount @48kHz	32	64	64
    I/O channelcount @96kHz	16	32	32
    I/O channelcount @192kHz	—	—	16
    MIDI-over-MADI	—	—	yes
    MIDI I/O	1 x MIDI 5pin input, 1 x MIDI 5pin output
    Wordclock	1 x BNC input, 1 x BNC output
    Dimensions	9,5“ / 1HE

     

    For further information, visit www.synthax.co.uk or call +44 (0)1727 821 870.

    All enquiries to:
    Synthax Audio (UK) Ltd.
    01727 821 870
    info@synthax.co.uk
    www.synthax.co.uk 

11. Emeli Sandé on tour with RME MADI interfaces and the Ferrofish A32

    2nd March 2017 3:02 pm Comments Off on Emeli Sandé on tour with RME MADI interfaces and the Ferrofish A32

    Monitoring and Systems Engineer Oliver Waton speaks to us about using RME MADI devices and the Ferrofish A32 in designing the playback rig for Scottish artist Emeli Sandé

    Touring Monitor and Systems Engineer Oliver Waton (pictured right) has worked with a number of well-known UK artists including the likes of Jack Garratt, Tinie Tempah, and most recently the MOBO and Brit-Award winning artist Emeli Sandé. He was kind enough to speak to us about what he looks for when designing a live rig, and why he regularly chooses hardware from RME and Ferrofish.

    “I’ve found a weird niche role devising and building MIDI-control and Audio systems to shake up the live music scene. In 2015 I began working with UK Artist Jack Garratt, designing and building his multi-instrumental stage rigs and their associated audio systems. Since then I’ve built playback rigs for artists from Tinie Tempah through to Emeli Sandé, and worked with a host of others in devising new ways of triggering and manipulating pre-recorded samples live, in order to break away from the standard ‘press-play’ backing track style of touring.

    Generally my requirements when I build a rig are quite simple in theory, but difficult in practice. I need low-weight and small-form factor items, so that I can build a complete A/B failover playback system that can be packed inside a foam-lined Peli-Case, which can be thrown into the hold of an aircraft and flown between venues in a hurry.

    Compounding the issue, recently artists’ requirements – when it comes to channel count – have been increasing too. For example, Jack’s Ableton system not only spits out 48 channels of audio to FOH, Monitors and Broadcast, but also has around 20 channels of ‘live’ audio returned to Ableton from the stage for live effects.

    If I were working with analogue audio this would be a heavy and cumbersome rack of Radial SW8 Switchers and copper cabling. With MADI devices from RME I am now able to get a 128-channel A/B Failover system into 3U of rack space, something which has never before been possible.

     

    “With MADI devices from RME I am now able to get a 128-channel A/B Failover system
    into 3U of rack space, something which has never before been possible.”

     

    Most of the rigs I build don’t require quite such an impressive channel-count though, and in general I will pitch for the RME MADIface USB as the interface of choice – it’s small, it’s light, and its capabilities in terms of standalone format-conversion and external sync have proven invaluable in many situations in the past.

    I tend to have two MADIfaces running into a synchronous MADI switchover unit (from Direct.Out), but I have the option to sync the devices with incoming MADI of different flavours or indeed from External Word-Clock.”

    Ferrofish A32 – MADI Optical & Coax Conversion

    Along with RME, Ollie is also a fan of the Ferrofish AD/DA converters, which have become an increasingly popular choice for the live and touring rigs of . The 16 in / 16 out Ferrofish A16 MK-II remains a popular choice for live work, with One Direction, Lily Allen and Disclosure all making use of them in their touring rigs. We also recently spoke to Will Sanderson, engineer for Ellie Goulding, about using the Ferrofish A32 for Ellie’s live show.

    “For ease of use at festivals and TV and promo gigs, a lot of the systems I build need to be capable of delivering the outgoing audio in an analogue form too, since whilst MADI may work beautifully for a touring rig, most festival, radio and TV slots won’t be able to accommodate a MADI stream as easily as a couple of dozen XLR lines. This is where the Ferrofish A32s become worth their weight in gold – format conversion of Optical or Coaxial MADI – 32channels in 1U: Ideal!”

     

    “This is where the Ferrofish A32s become worth their weight in gold – format conversion
    of Optical or Coaxial MADI – 32 channels in 1U: Ideal!”

    RME MADI Devices

    Ollie also told us about some of the larger setups he’s been involved with, and why RME devices are the perfect choice for live rigs.

    “For larger touring rigs, I’ve used the RME MADIFace XT (pictured right) before to double my channel count. Keeping a 128-channel switchover system (so four MADI Universes) sample-synchronous presents its own difficulties, but the options on the XT make it easy. Additionally, when I do use the XT, my MIDI Interfacing is processed in the same unit as the audio. This gives me two advantages: fewer separate units to fit in the box, and also, computationally, I can option the MIDI Commands to exist in the same processor thread as the audio, which has some benefits in terms of timelines and Audio Vs MIDI Sync.

    I’ve used RME devices since I can remember; all the way back to my research days at the University of Surrey, RME kit is everywhere in Television and Broadcasting sound because it just works, the firmware is solid, the hardware is robust and reliable and the range of products makes life very easy when I’m planning these systems.

     

    “I can’t even count the number of times I’ve been asked to overhaul playback rigs,
    and the first thing I always do is put the existing interface in the skip and start again with RME.”

     

    I can’t even count the number of times I’ve been asked to overhaul playback rigs that are being flakey out on tour, and the first thing I always do is put the existing interface in the skip and start again with RME. So many manufacturers use cheap toroidal switch-mode power-supplies (that just break) or write unstable buss arbitration codes that gets the audio thread confused when the computer tries to ping or query additional processes: I simply don’t get that with RME kit.

    My clients consistently come back to me with glowing feedback for the systems I’ve built, and any system can only be as reliable as its least reliable part. That’s why I pitch with the best kit I can get. With kit from RME and Ferrofish, I’ve yet to come across a brief I can’t fulfil!”

    

    Ferrofish recently released the Ferrofish A32 Dante, allowing users to easily integrate the A32 into existing Dante networks.

    Our thanks to Ollie Waton. If you’d like to get in contact with Ollie, you can send him a message here, or visit his website here.

    To keep up to date with Emeli Sandé, visit her website here.

    If you’d like to know more about any of the products mentioned in this article, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo.

    Find out more about RME’s MADI solutions

    Find out more about the Ferrofish A32

12. New from NAMM 2017: RME, Ferrofish, Icon, MicW & Lauten Audio

    20th January 2017 6:39 pm Comments Off on New from NAMM 2017: RME, Ferrofish, Icon, MicW & Lauten Audio

    New products on show at NAMM 2017 from RME, Ferrofish, Icon, MicW & Lauten Audio
    

    The Winter NAMM show in Anaheim, California is one of the largest MI (musical instrument) and pro audio trade shows in the world, where manufacturers and distributers gather to exhibit the latest developments in music technology. As suppliers often choose NAMM to reveal their latest products, the show attracts over 100,000 visitors from around the world, with buyers, exhibitors, media, musicians, artists and celebrities all in attendance.

    With several of Synthax Audio UK’s brands are currently showcasing their latest products on their stands, we thought we’d bring you a round-up of the most exciting upcoming products from our brands. Read on to see the highlights and find out what you can expect to see in 2017.

     

    RME
    

    The RME stand is as lively as ever at this year's show! With the RME Fireface UFX+ only released a few months ago it's still a big talking point, having recently received a 10/10 from MusicTech in their review. But the star of the show has to be the new RME Fireface UFX II, the true sequel to the much-loved Fireface UFX that has been powering studios around the world since 2010. The Fireface UFX II brings the same great sound of the UFX+ to engineers who don't require the exceptionally high channel count. You can get a full overview of this awesome new interface in our article here.

    There's also the RME Digiface USB, a compact and lightweight audio interface for connecting ADAT and SPDIF equipment directly to a Mac or PC via USB. This unique little box will be great for anyone who wants a quick an simple way to add a bunch more analogue channels to their setup – you could combine it with an AD/DA Converter such as the Ferrofish A32, or add more microphone inputs with a high-quality preamp such as the RME Octamic II.

    RME also had the new DTOX D-Sub to XLR breakout boxes, which provide a variety of ways to connect your DSub equipment, such as the new Ferrofish A32 Dante.

     

    

     

     

     

     

     

     

    Find out more about the RME Fireface UFX II

    Find out more about the RME Fireface UFX+

    Find out more about the RME Digiface USB

    Find out more about the RME DTOX Breakout Boxes

     

    Ferrofish
    

    Ferrofish are known for producing high-quality, cost-effective AD/DA converters, which have been used on live tours by artists including One Direction and Olly Murs, Disclosure and Ellie Goulding. The company chose NAMM 2017 to unleash their latest offering for the first time to the public – the Ferrofish A32 Dante. This version uses the same housing as the original Ferrofish A32 with an additional 128 channels of Dante, which can be easily integrated into existing Dante networks. Other features include 32 balanced analogue inputs and 32 balanced analogue outputs on D-Sub connections, ADAT, MADI and Dante connectivity, sample rates up to 192 kHz, 4x TFT screens for control of all channels and settings, redundant power supplies, and comprehesive routing and mixing capabilities.

    Find out more about the Ferrofish A32

    Find out more about the Ferrofish A32 Dante, or watch our overview video here.

     
    

    Icon Pro Audio
    

    The Icon Pro Audio booth at NAMM 2017 was also a hub of activity, with several new products being shown for the first time. Having recently released two new flagship USB-MIDI controllers, the Icon QCon Pro X and the Icon Platform M, Icon chose to unveil several new products at this year's NAMM, including fader expansion units for both controllers in the form of the Icon QCon Pro XS and the Icon Platform X, along with a display for the Platform X called the Platform D2.

    The guys at Icon also had with them an upcoming audio interface called the Icon Mobile R VST. Described as an innovative VST rack, plug-in host and virtual signal router, the Mobile R can be run in standalone mode or with a DAW, and will allow you to use your favourite virtual instruments without a host. It also includes a suite of Icon's own plugins. More details on that to follow so watch this space.

    Find out more about the Icon QCon Pro XS

    Find out more about the Icon Platform X

    

     

     

     

     

     

     

     

     

    Lauten Audio Microphones
    

    Lauten's full range of highly impressive Signature Series microphones were all on display at the Lauten NAMM 2017 booth, including the fabulous Eden LT-386 Multi-voicing Tube Condensor mic, along with the Clarion FC-357, Atlantis FC-387 and the Oceanus LT-381. Each of these high-end studio microphones have their own distinct character, and have found many fans amongst professional musicians, engineers and producers including David Crosby, Fab Dupont and 7-time Grammy winning engineer Darrell Thorp.

    Lauten also had their newest mics on show too – the three Series Black models. Designed to be a more affordable option, the Series Black are the perfect entry point into the world of Lauten's premium studio microphones.

    Find out more about Lauten Audio Signature Series

    Find out more about Lauten Audio Series Black

     

    MicW Microphones
    

    Chinese microphone manufacturer MicW is best known for creating durable, high performance microphones with clean, quality craftmanship. Their range covers a variety of specialist applications including measurement, film and broadcast, and cater to budget film makers with their GoPro and DSLR mics.

    MicW chose NAMM 2017 to showcase their newest iSeries mic, the MicW i316 Smart Lavalier Microphone Kit. Designed for use with smart phones and tablets such as the Apple iPhone, iPad and Samsung Galaxy (Note), this new omnidirectional lavalier mic’s lightweight build will make it perfect for Broadcast production work like ENG and EFP.

    Also featured at the MicW stand was the new Lightning Mini Sound Card. This clever little device allows you to directly connect a microphone into the iPhone Lightning connector. With the news that Apple have chosen to omit the headphone jack on the latest iPhone causing somewhat of a stir in the audio community, the Lightning Mini Sound Card will clearly be of interest to anyone who is used to whipping out their phone for making quick recordings.

    The MicW Lightning Mini Sound Card provides a single channel mic input and a dual channel mic input, along with a headphone output (for real time monitoring) as standard. The Lightning Mini Sound Card will support all MicW iSeries products, and can be used with the iPhone 7.

    Find out more about MicW iSeries microphones

     

    Photos of the Ferrofish A32 Dante and RME Digiface USB are courtesy of Synthax Japan.

    If you'd like to know more about any of the products mentioned in this article, give us a call on 01727 821 870 to speak to one of our team or to arrange a demo. You can also contact us.

     

     

     

     

    Follow my blog with Bloglovin