Use the following feature list to compare our ADI-96 PRO with other Line/Mic Preamps or AD-converters, and you will agree: The ADI-96 PRO has the best price/performance ratio!

• 24 Bit / 96 kHz AD-converter, fully balanced design, 119 dB ADCs from Crystal
• 80 MHz Motorola DSP 56303, for full 48 bit internal resolution at 96 kHz
• Inputs: Mic (XLR, Phantom power switchable), Line (XLR, 1/4" TRS), word clock (BNC)
• DSP functions: De-esser, Noisegate, Phase, Low Cut, Non Linear Compressor, Auto Level Control, Delay, M/S Processing, Dither
• Constant Double Speed (CDS^®) technology preserves hi-speed sample sound even at sample rates below 64 kHz
• Sample frequencies 32 kHz, 44.1 kHz, 48 kHz, 64 kHz, 88.2 kHz, 96 kHz
• Complete remote control through Windows software
• Analog Processing on digital domain for 'analog' sound
• Digital Processing with Look Ahead for minimized changes in sound
• More DSP functions and software updates free of charge on our website

Processing the data in the digital domain avoids all unwanted effects typical for analog circuitry, like additional noise, distortions, changes in frequency response and deviations between both channels. Thanks to its clear structured menu and a big 2x20 character LC-display the configuration is done in seconds. The DSP also controls the integrated Peak Level Meter and the Correlation Meter.

The back of the ADI-96 PRO offers several servo balanced inputs. The microphone inputs are available as XLR, the line inputs as XLR and 1/4" TRS jacks. The line audio path is build in a completely balanced design, from the jack to the ADC. The digital outputs in AES/EBU (XLR) and SPDIF (optical/coaxial) format allow a connection to all other units with digital inputs. The BNC jack can be configured as word clock input and output, the ADI-96 PRO will operate as master or slave respectively.
 

• CDS^®
  CDS (Constant Double Speed) maintains the crystal clear sound of 96 kHz sample rate even when using usual (lower) sample rates. In CDS mode the ADI-96 samples and calculates the audio data with double speed. Before the data reach the digital output they are downsampled to compatible values.
   
• De-esser
  A De-esser reduces the level of high disturbing sounds (sibilants) in vocal recordings. The ADI-96 uses a configurable dynamic notch filter, but needs no adjustment when the level changes. A special adaptation function compares the overall level with the level of the filtered signal, and changes the Threshold so that a relative level operation is realized. Adjustable from 0,7 kHz to 20 kHz, Q from 0.2 to 10, Ratio 0 dB to -50 dB.
   
• Expander
  An Expander lowers the signal 'smooth' according to a given characteristic (Ratio) when the level drops under a given level (Threshold.) With this music can be faded in and out without audible distortion, noise between tracks can be easily suppressed. With a more extreme setting, like Ratio 5:1 and Release 0,1 s the Expander operates like a Noise Gate. This for example allows to isolate percussive instruments from environmental noise. With activated Delay the Expander operates in Look Ahead mode. Adjustable from -30 dBFS to -110 dBFS, Ratio 1,2 to 5,0, Attack Fast (1 ms) or Slow (25 ms) and Release 0,1 to 25,5 seconds.
   
• Low Cut
  High pass filter 12 dB/oct with a resolution of 48 bit, adjustable cutoff frequency from 2 Hz up to 250 Hz. Removes unwanted rumble and low frequency noise when recording from microphones, or transferring old analog audio material. At a setting of 2 Hz also useable as DC-filter.
   
• Non Linear Compressor
  Realizes a non linear compressor or 'soft limiter' function. Consists of a brickwall limiter with optimized harmonic rendering. Even at +5 dB it is nearly impossible to hear any distortion in mixdowns. Very good for maximizing loudness or when needing additional headroom. Similar to the effect known as tape saturation.
   
• Auto Level Control
  Serves as automatic level control. When the input signal does not reach a given level for a given time the gain is raised. Optimizes the average recording level, avoids recording levels that are too low. At lower Rise time settings the ALC operates as digital Compressor. In conjunction with the NLC an effect widely known as 'Maximizer', causing an enormous raise of the volume/loudness at minimal audible artifacts can be achieved. With activated Delay the ALC operates in Look Ahead mode. Adjustable are Gain 0 to 24 dB, Headroom 1 to 12 dB and Rise 0,1 s to 25,5 s.
   
• Delay
  Independent delay for left and right channel up to 170 ms in steps of 0,1 ms. Can be used to eliminate acoustical delays from critical microphone positioning or in bigger acoustical environments (PA.) May be used to generate a light stereo effect by delaying only one channel. Activates the Look Ahead mode for Expander and Auto Level Control.
   
• Phase
  Phase correction 180° for left, right or both channels. Removes problems with stereo to mono conversion.
   
• Bit Resolution and Dither
  ADI-96 PRO always samples in 24 bit resolution. The output can be configured to 8, 16, 20 or 24 bit word length. As this would lead to audible distortion at 8 and 16 bit at lower levels, it is possible to add Dither (0,5/1 LSB) to the output signal. Then the signal will be rounded to the desired resolution.
   
• M/S Processing
  The mid/side processor transforms recordings done in the mid/side positioning technique to a usual left/right stereo signal. Additional it processes usual stereo signals into a mid/side signal. This allows to check a completed mix on the included stereo information, or to manipulate only the stereo signals.
   

Home    News    Audio Converters    Sound Cards    MADI Series     DIGICheck   Mic Preamps
Accessories    Support    RME Newsgroup    Company Info    Purchasing    Downloads    Links

Copyright © 2002 RME. All rights reserved. RME is a registered trademark.
This website contains names and marks of other companies.