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RME now shipping Babyface

Related: , , , , , , , , , Posted in news on Jun 16, 2010 - comment 0 comments
RME Babyface

RME is now shipping the Babyface, a 22-Channel 192 kHz multi-format mobile USB audio interface.

The Babyface is smooth on the outside for looks and feel, but has the balls inside: latest 192 kHz AD- and DA-converters, two reference class microphone preamps, SteadyClock – analog circuit design, features and function are truly RME – we wouldn’t give our newborn anything second class!

That includes the new TotalMix FX, a TotalMix on steroids, with tons of new features, improvements and 3-band parametric EQs, plus added echo and reverb: anything you need right out of the box and with near zero latency!

The Babyface uses RME’s Hammerfall USB audio core from the Fireface UC – another milestone in low latency audio interfaces, and will give you outstanding performance and top sound in an ultra-portable, nicely designed and attractively shaped enclosure.

Babyface features

  • 10 Input / 12 Output channels
  • 2 x analog I/O with mic pres, line and mic level, balanced or unbalanced
  • 1 channel alternatively usable as Hi-Z input
  • 1 x ADAT I/O or 1 x SPDIF I/O optical
  • 1 x Phones Out (separate DA conversion)
  • 1 x MIDI I/O
  • Supports Bus-powered operation
  • TotalMix FX (High-End DSP mixer with effects)

The RME Babyface is available to purchase for $799 USD.

More information: RME / Babyface


Avid announces VENUE MADI Option Card

Related: , , , Posted in news on Jun 10, 2010 - comment 0 comments
Avid VENUE MADI Card Option

Avid has introduced the VENUE MADI (Multichannel Audio Digital Interface) Option Card, which opens up new workflows to VENUE users, making it easier to integrate VENUE into any existing MADI environment such as a concert venue, broadcast facility, or other fixed installation, using the industry-standard MADI protocol.

With the card installed, VENUE users can send and receive up to 64 channels of audio between their VENUE system and a wide variety of MADI-compatible devices, including routers, other digital mixing consoles, and mobile recording setups. In addition, customers can now easily accommodate more complex workflows that would typically require the use of a patchbay.

VENUE MADI features

  • Leverage broadcast and fixed installation investments by connecting a VENUE D-Show®, Profile, or Mix Rack System directly into existing MADI infrastructures.
  • Connect with a wider range of MADI devices through the card’s optical and coaxial connections, as well as its 56-and 64-channel modes.
  • Easily add MADI connectivity to their VENUE system, and expand the channel count if needed to:
    • Send and receive up to 64 channels of 24-bit, 48 KHz audio—including all stage inputs—with one MADI card installed in an FOH Rack or Mix Rack.
    • Double distribution up to 128 channels by adding a second MADI card to an FOH Rack.
  • Simplify application setup and troubleshooting with automatic input signal detection, and ensure system reliability through simultaneous optical and coaxial outputs, enabling redundant connections.
  • Expand long-distance workflows, using fiber optic cable to transmit audio up to two kilometers (1.24 miles) away—without any loss in signal quality.

The MADI Option Card is available now, and easily installs into any available expansion slot in an FOH Rack or Mix Rack.

Avid has also released a new VENUE D-Show 2.8.5 software update, which provides many system improvements, and is available as a free download for all D-Show 2.8.x software users. For MADI card users, the software offers two new input modes—MADI Input and MADI Virtual Soundcheck—enabling them to easily switch between MADI and Stage inputs and do Virtual Soundchecks without re-patching.

More information: Avid / VENUE MADI


Stephan Römer releases TotalKeyMix

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Stephan Römer TotalKeyMix

Stephan Römer has released TotalKeyMix, a volume control for RME’s TotalMix.

This free application enables you to control the volume of your RME soundcard with the multimedia keys of your keyboard or even a device like the Griffin PowerMate.

You might have noticed that the volume control of the windows mixer has no impact on the TotalMix interface. But the fact, that TotalMix can be controlled over MIDI made me think of a way how to control it anyway. Some of you maybe know the powerful scripting application AutoHotkey. You can do pretty nifty things with it and that’s exactly what I used for my approach. AutoHotkey is able to access the MIDI API of Windows and send MIDI controller data via hotkeys. The only thing you need to get it working is a virtual MIDI device which AutoHotkey can use to transfer the MIDI data. You can use the free MIDI Yoke for that purpose (it even works on Windows 7 x64).

TotalKeyMix features

  • GUI.
  • Volume and mute functionality.
  • Free assignable hotkeys.
  • Settings stored in a config file.

TotalKeyMix is available to download as a freeware application for Windows PC.

More information: Stephan Römer / TotalKeyMix


RME introduces Babyface

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RME Babyface

RME has introduced Babyface, a 22-Channel USB 2.0 audio interface.

The portable 22-channel RME Babyface USB 2.0 audio interface features digitally controlled mic preamps, instrument input and TotalMix FX DSP mixer in a small package that fits in your pocket.

In addition to the stereo analog I/O the RME Babyface also offers ADAT, SPDIF and MIDI I/O. The TotalMix FX mixer provides high-class DSP effects (EQ, dynamics, delay and reverb). The unit features 192 kHz AD / DA converters with active jitter suppression.

While the RME Babyface is a professional soluition for demanding field engineers, it’s also suitable for home use as a small footprint pro audio interface for desktop systems.

RME Babyface features

  • 22-Channel USB 2.0 Audio Interface.
  • TotalMix with high class DSP effects.
  • 192 kHz AD / DA converters.
  • Active jitter suppression.
  • 2 x Analog I/O.
  • 2 x Mic / Line preamps, digitally controlled.
  • 1 x Instrument Input (alternate).
  • 1 x Stereo Headphone Output.
  • 1 x ADAT I/O.
  • 1 x SPDIF I/O (optical instead of ADAT I/O).
  • 1 x MIDI I/O.
  • 1 x USB 2.0.
  • Package includes TotalMix FX Software for Win / Mac, DIGICheck Software Win / Mac, breakout XLR, Optical cable, USB cable, CD-ROM, Manual, power supply.

More information: RME


RME now shipping M-Series Converters

Related: , , , Posted in news on Sep 02, 2009 - comment 0 comments

RME has announced it is now shipping the M-Series of converters with MADI and ADAT interface.

RME’s comprehensive MADI line is now extended by hi-class multichannel converters with 16 and 32 channels. The M-series converters have been conceived and optimized for professional studio, stage, and broadcast applications.

Packed into only 2U height the M-32 AD offers a 32-channel AD-conversion to MADI and ADAT in reference quality. The fully symmetrical analog circuit design guarantees excellent S/N and THD specs across a wide analog level range. Using up-to-date converter technology, the device not only works up to 192 kHz, but also reaches a real-world signal-to-noise ratio of 116 dBA – on all channels. Further features are analog limiters for an efficient protection of the analog inouts against overload, three hardware reference levels up to +24 dBu, MADI and ADAT I/O, analog inputs via 6.3mm TRS and D-sub connectors, remote control via MIDI and MIDI over MADI, and operation across a wide range of mains voltages.

Nearly identical features are found in the M-32 DA, which offers a 32-channel high-end DA conversion. It is easy to operate despite having a comprehensive feature set. The unit combines excellent analog circuit design with the latest converter chips and RME’s superior SteadyClock into a state-of-the-art DA conversion, with outstanding THD and S/N specs of up to 118 dBA.

Both converters are also available as 16-channel versions. Except for the reduced channel count M-16 AD and M-16 DA are identical to their bigger brothers.

Included ADAT ports make the M-series not only first choice with MADI, but also a perfect solution for all other units having ADAT interfaces.

More information: RME


RME shipping Fireface UC

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RME Fireface UC

RME has announced it is now shipping the Fireface UC, a 36-channel USB 2.0 interface.

Based on a newly developed RME Hammerfall core, the RME Fireface UC provides revolutionary ultra-low latencies even with multiple audio channels and breaks performance restrictions of typical USB audio interfaces with sophisticated transfer technologies. It has been uncompromisingly optimized for highest performance under Windows and OSX with dedicated firmware versions for each platform.

Fireface UC features

  • Integrated DSP mixer — All inputs and outputs can be freely mixed, routed, and distributed with RME´s TotalMix software. Up to 9 totally independent stereo submixes can be set up. Every output channel, and every submix channel can be recorded directly and without external cable loops. TotalMix can be completely MIDI remote controlled. The DSP-based hardware calculates RMS and Peak levels for all channels, without causing any significant CPU load.
  • Analog I/O — Eight analog inputs and outputs (all balanced, except outputs 7/8) with software controlled reference levels (-10 dBV, +4 dBu, Lo/HiGain), realized discretely in the analog domain, ensure highest dynamic range and fidelity. Inputs 5 to 8 on the rear feature RME’s proven level references, -10 dBV, +4 dBu and Lo Gain can be selected in the settings dialog, equivalent to +2 dBV, +13 dBu and +19 dBu for digital full scale. The same applies to the balanced rear analog outputs 1 to 6. The hi-power phones output offers high volumes even with low-impedance headphones.
  • Preamps — The Fireface UC features 2 balanced microphone inputs with a digitally controlled input stage, individually switchable 48V phantom power, and Neutrik Combo connectors for XLR and TRS. These can also be used as additional line inputs. A pre-amplification of up to 65 dB (adjustable in 1 dB-steps over a range of 55 dB), exceptional EIN (Equivalent Input Noise) performance even at low pre amplification settings, and extremely low THD+N let these preamps surpass many reference devices. All level settings are 100% reproducible and can also be comfortably adjusted by software. Inputs 3 and 4 are flexible universal balanced inputs. They operate exactly like inputs 5 to 8 on the rear and can be adjusted to accept standard studio input levels (+4 dBu, LoGain). The input impedance can be switched from line (10 kOhm) to instrument (470 kOhm), and offers an additional analog input amplification of up to 18 dB in steps of 0.5 dB.
  • Digital I/O — One ADAT I/O provides digital connection to mixers and converters. In combination with an ADI-8 DS/QS or OctaMic II, there are up to 16 analog inputs (respectively 12 @ 96 kHz). The coaxial SPDIF I/O (up to 192 kHz) is fully AES/EBU compatible. SPDIF can also be accessed through the optical I/O.
  • Word Clock & MIDI — A Word Clock input and output plus two MIDI I/Os (special breakout cable included) complete the list of features and turn the Fireface UC into an entire audio system of the highest quality.
  • More Features:
    • Sample rates up to 192 kHz on all I/Os (including 2 ADAT channels with SMUX4)
    • Two digitally controlled Mic Preamps in high-end quality
    • Two balanced universal inputs for line and instrument signals
    • SteadyClock for maximum jitter suppression and clock refresh
    • Enhanced stand-alone operation with rotary encoder and front panel display
    • TotalMix: 648-channel mixer with 42-bit internal resolution
    • 54 Level Meter Peak/RMS, hardware-calculated

More information: RME


Review: Ian Boddy Drumalogue

Ian Boddy Drumalogue

Ian Boddy is a sound synthesist. Don’t ask me what that means exactly, but what I do know is that Ian has been doing electronic music for almost 3 decades.

Besides being quite a prolific musician, Ian also has been working as a sound designer for some 25 years. His works include sample libraries like Zero-G’s Malice in Wonderland and Outer Limits, Transmission-X for Sample Magic, and patches and samples used in LinPlug, Camel Audio & Rob Papen products.

Last year his Something Else Music Limited label launched the Ian Boddy Waveforms, a series of tightly focused downloadable sample packs.

The third title in the Waveforms series is Drumalogue, a library of 1,000 analogue drum, percussion and one-shot hits.

However these are not taken from vintage drum machines (of which there is already plenty of content available elsewhere) but rather all the sounds are hand crafted by Boddy on vintage analogue synths and modular systems. They run the full gamut from thunderous bass drums, crisp snares & hats through to abstract synth hits & FX and even weird glitchy & industrial sounds.

Drumalogue features

  • 1,000 samples at 44.1Khz, 24 bit in WAV format (stereo & mono samples).
  • Raw audio recorded from the following analogue synthesisers: Roland System 100-M, Analogue Systems, Doepfer A-100, Analogue Solutions, Livewire AFG, VCS3, Minimoog, Metasonix TM-2 tube BP filter.
  • Recorded directly into Apple Mac using RME Fireface 400 audio interface, samples edited in Bias Peak Pro 5.
  • Native Instruments Kontakt 2 support provided.

The Kontakt 2 programs (with a basic envelope and low-pass filter) provide an easy way to access and use the samples.

Ian Boddy Drumalogue in Kontakt
Ian Boddy Drumalogue in Kontakt

The Kontakt folder is divided into three sections:

  1. Audition – All the sounds per category (20 categories) with one sound per key starting at C1.
  2. Kits – 18 patches follow as closely as possible the General MIDI Percussion Key Map from B0 (Key35) to B2 (Key59) and provide a convenient way of playing some of the sounds as “drum kits”.
  3. Patches – 34 sounds key-mapped out in patches.

Drumalogue is available as a download from various distributors for £24.95 GBP / $34.95 USD / 27.95 EUR.

So what do I think?

Drumalogue won’t replace the vintage synths, modular systems and analogue effect processors used to create this sample library. The hands-on experience of tweaking knobs and patching sounds just isn’t going to be available in a collection of samples.

What Drumalogue does provide is an excellent collection of samples for those of us who can’t afford this type of equipment, or perhaps don’t have the space to fit all that gear into our music studios. Either way, Ian Boddy delivers on quality and versatility with Drumalogue: Raw, glitchy, bleepy analogue goodness!

Just listen to the demo mp3s and you will know what I am talking about. If your drum sample library has room for something different, I can highly recommend Drumalogue.

Visit the Ian Boddy Waveforms website for more information.

Note: Time+Space has a great deal on the first two Waveforms libraries. Airwaves and Radiophonica are available in a special bundle for just £40 GBP until 31 May, 2009. Details here.