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<p class="style2">The <span style="font-weight: bold;">RME ADI-192 DD</span> is the successor to the highly successful <a href="http://www.synthax.com/rmeadi8dd.html">ADI-8 DD</a>. The completely re-engineered device was designed to be the best format and sample rate converter ever. Hence the ADI-192 DD not only features considerable improvements compared to the ADI-8 DD, but also adds a number of new and unique features.</p>
<ul>
<li class="style2">Supports 192 kHz with ADAT, TDIF und AES 
</li><li class="style2">8-channel sample rate conversion up to 192kHz 
</li><li class="style2">Sample Rate Conversion can be selected for AES, TDIF or ADAT 
</li><li class="style2">Sample Rate Conversion supports levels of up to +6 dBFS 
</li><li class="style2">8-channel Sample Rate Conversion without phase deviation (sub-sample synchronous) 
</li><li class="style2">SteadyClock for maximum jitter suppression and clock regeneration 
</li><li class="style2">Complete triple format converter AES/TDIF/ADAT with added SPDIF TOSLINK I/O 
</li><li class="style2">Direct support for Double and Quad Wire, S/MUX and Double/Quad Line 
</li><li class="style2">Also when using SRC 
</li><li class="style2">Special TDIF word clock output 
</li><li class="style2">Simplified and easy-to-use user interface</li></ul>

RME ADI-192 AES-ADAT Converter
3 x 8-channel Format/Sample Rate Converter with AES, ADAT, and TDIF Support.

The <span style="font-weight: bold;">RME ADI-2</span> is a both compact and extremely flexible 2-channel Hi-End AD/DA-converter. The small 9.5" unit offers top notch AD/DA-conversion from/to SPDIF, AES and ADAT, at up to 192 kHz. Its ability to use SPDIF, AES and ADAT format provides outstanding compatibility. Whatever it is – simply get connected! 
<p>Key features of this extraordinary flexible converter are balanced inputs and outputs, monitoring via headphone out, SteadyClock for optimal converter quality, 3-stage hardware input and output level control, and it's capability to run on a wide range of power supplies. 
</p><p><b>Features:</b> 
</p><p>The ADI-2 is equipped with a balanced stereo line input via two Neutrik XLR/phones combo jacks, a balanced stereo line output with XLR plus separate and simultaneously active phone jacks, as well as an adjustable headphone output. 
</p><p>The analog inputs and outputs use the same circuit design as RME's famous ADI-8, guaranteeing outstandingly low noise and distortion. Three different settings for the input and output levels each provide perfect compatibility on analog domain. A further highlight is SteadyClock, a proprietary clock technology for maximum jitter suppression. SteadyClock guarantees superb sound quality completely independent from the quality of the current reference clock. The ADI-2 uses the latest generation of AD/DA-converters capable of up to 192 kHz sampling frequency at a S/N ratio of 110 dB. 
</p><p>But the ADI-2 has more to offer than tremendous sound, it also gives you exciting digital connectivity. Its transformer-balanced coaxial (RCA) SPDIF I/O has switchable Channel Status to make it fully AES/EBU compatible. The optical TOSLINK I/Os can handle up to 192 kHz and also serve as ADAT I/Os with up to 96 kHz sample rate. You can even use SPDIF input and ADAT output or vice versa in AD/DA mode. The clear layout and the distinct labeling of the front panel with its functional buttons, the informative status displays, a 6 LED level meter as well as the tidy functional back panel make it easy to operate the unit right out of the box. Protective rack handles and a strain-relief for power cord and audio cables are further useful details that make the ADI-2 even more unique. 
</p><p><b>Power to this unit!</b> 
</p><p>Following the 'Universal Power Supply' philosophy of RME's Digiface, Multiface, QuadMic und OctaMic, the ADI-2 comes with an external switching power supply. Its additional internal switching power supply has been specially designed and optimized for audio applications. It accepts any voltage from 7 to 30 V, be it AC or DC, and even runs on batteries and rechargeable batteries. </p>

RME ADI-2 AD/DA Converter
2-channel Hi-End AD/DA-converter from/to SPDIF, AES and ADAT, up to 192 kHz.

The <span style="font-weight: bold;">RME ADI-4 DD</span> is a simplified and highly cost-efficient smaller version of the renowned ADI-8 DD. Built into a space-saving half-rack space enclosure, the ADI-4 DD includes all of the advanced technology of the ADI-8 DD, except for sample rate conversion and TDIF ports. The actual states of incoming and outgoing signals and ongoing operations within the unit are displayed by LEDs in an easily overseeable way. SyncCheck®, already found in other RME products, not only shows if an input signal is locked, but also if multiple inputs are in synchronicity. Furthermore RME's SyncAlign® technology prevents accidental errors of ± 1 sample misalignment between the AES/EBU inputs. The AES output signal can be set to Professsional or Consumer subcode. Channel 1/2 can optionally be received and output optically (TOSLINK). 
<p>RME's SteadyClock™ technology guarantees an excellent performance in all clock modes. Its highly efficient jitter suppression enables the ADI-4 DD to refresh and clean up any clock signal, and to provide the clock signal as reference clock at the word clock output. Additionally, our Intelligent Clock Control (ICC) will maintain the last sample rate detected as valid in case of fault and loss of input signal. The device can be stacked without limit, all devices will be sample synchronous by using word clock. All settings are stored at power-off. 
</p><p><b>Connectivity</b> 
</p><p>The device basically consists of two converters: four AES-3 inputs to double ADAT outputs, and double ADAT inputs to four AES-3 outputs. The double ADAT ports enable full 8 channel support, from 32 kHz up to 96 kHz (S/MUX). The unit provides one XLR I/O directly. A DB-25 connector allows for a use of industry standard AES-3 I/O breakout cables. Setting an internal connector easily changes the DB-25 connector to meet the pinout of Tascam, Yamaha and Euphonix cables. </p>

RME ADI-4 DD Converter
8-Channel 24-Bit/96kHz Dual Universal Format Converter.

The <span style="font-weight: bold;">RME ADI-642</span>, an 8-channel format converter from MADI to AES and vice versa, is the latest addition to RME's successful MADI series. Amongst other applications, the unit can serve as ideal AES/EBU frontend for the Hammerfall DSP MADI PCI card. Up to 192 kHz at 24 bit are supported. Its most outstanding feature is an easy-to-use 72x72 routing matrix, which can assign an individual input channel to every single output channel, allowing free configuration of all 64 MADI channels and the 8 AES channels. Additional features include: 
<ul>
<li>Native support for AES Double and Quad Wire 
</li><li>Native support for MADI Double and Quad Wire 
</li><li>Direct conversion between these formats 
</li><li>Automatic Delay Compensation when using more than one unit 
</li><li>Analog stereo monitor output, up to 192 kHz 
</li><li>Detailed status display for MADI and AES 
</li><li>Completely remote controlable via MIDI 
</li><li>Transfer of MIDI data via MADI 
</li><li>SteadyClock for maximum jitter reduction and clock regeneration</li></ul>
<p>The compact unit with 19" width and 1 unit height serves as format converter MADI to/from AES . MADI handles 64 channels of 24 bit audio at sampling frequencies up to 48kHz, 32 channels up to 96kHz, and 16 channels up to 192kHz. All channels are transferred across a single cable, either coaxial (BNC) or optical network cable. In both cases, cable lengths of more than 100 meters can be achieved. The AES/EBU channels are provided via 4 XLR inputs and outputs, respectively. The ADI-642 accepts 56 channels and 64 channels as well as 96k and 192k frame at its input, and can be set to generate those formats at its output. This way the ADI-642 even serves as perfect interface between otherwise incompatible MADI devices.</p>

RME ADI-642 MADI-AES Converter
24 Bit 192 kHz 8-channel MADI / AES Format Converter with 72 x 72 Routing Matrix

The <span style="font-weight: bold;">RME ADI-6432</span> offers 64 channels of format conversion from MADI to AES and vice versa. Typical applications include two ADI-6432 used as digital multicore, or one unit used as AES/EBU frontend for the Hammerfall DSP MADI PCI card. Up to 192 kHz at 24 bit are supported. Built with 2 units height there is enough space for all connectors and control elements. Of course the unit includes lots of typical RME-features: 
<p>
</p><li>Support for up to 192 kHz with MADI and AES 
</li><li>Unique status displays for MADI and AES 
</li><li>SteadyClock for maximum jitter reduction and clock regeneration 
</li><li>Completely remote controlable via MIDI 
</li><li>Transfer of MIDI data via MADI 
</li><li>Transfer of RS232 data via MADI 
<p>The compact unit with 19" width and 2 unit height serves as format converter MADI to/from AES. MADI handles 64 channels of 24 bit audio at sampling frequencies up to 48 kHz, 32 channels up to 96 kHz, and 16 channels up to 192 kHz. All channels are transferred across a single cable, either coaxial (BNC) or optical network cable. In both cases, cable lengths of more than 100 meters can be achieved. The AES/EBU channels are provided as 32 AES/EBU inputs and outputs via D-sub connectors. The ADI-6432 accepts 56 channels and 64 channels as well as 96k frame at its input, and can be set to generate those formats at its output. 
</p><p><b>Features </b>
</p><p>RME's SteadyClock™ lets the ADI-6432 use MADI without an additional word clock connection, and guarantees excellent clock quality in every situation. Due to the highly efficient jitter reduction, any clock signal - even AES and word clock - can be improved and refreshed, and subsequently be used as reference clock at the word clock output. Intelligent Clock Control (ICC) will retain the last valid sample frequency in case of a loss of the input signal. 
</p><p>The ADI-6432 supplies word clock in Single, Double und Quad Speed, distributes Double Wire 96 kHz signals into the MADI data stream, and even supports the double MADI sample rate (96K frame). The SyncAlign® and SyncCheck® technologies known from other RME products ensure perfect synchronization and clear detection of errors. Also multiple units can be stacked and operated sample-aligned, using word clock. All settings are stored when the unit is switched off. 
</p><p>A fully automatic input selection between optical and coaxial input offers a useful redundancy mode for critical applications. Extensive status displays give information about lock and sync states, audio content and the physical quality of the incoming signal. 
</p><p>The front panel features an exciting and detailed Sync and Audio State display with 97 LEDs. Furthermore there are lots of buttons with clear LED function display. Especially in a professional application, exact display and control of all incoming and outgoing signals, including MIDI and RS232, becomes indispensable. Errors can be detected at a glance. The control keys can be locked to prevent accidental changing of settings.</p></li>

RME ADI-6432 MADI-AES Converter
RME ADI-6432 64-Channel MADI/AES Format Converter

This Multichannel Audio Digital Interface offers format conversion from MADI to ADAT and vice-versa. The <span style="font-weight: bold;">RME ADI-648</span> thus combines the world's most successful multi-channel interface with the professionals' exclusive high-end interface. MADI offers 64 channels of 24 bit audio at up to 48 kHz sample rate, and 32 channels at up to 96 kHz. Transmission happens over a single line, either coaxial (BNC) or fiber optic (network). In both cases the cable length can be more than 100 meters. 
<p>The MADI channels are transferred from and to 8 ADAT optical inputs and 8 outputs via TOSLINK. Furthermore, the ADI-648 contains an easy-configurable 8-channel 16x16 Matrix Router. Any of the outputs, which are divided into 8-channel blocks, can be fed from any 8-channel input block, both on the ADAT and the MADI side. With this, there is not only free routing within the M-A and the A-M conversion, but also splitting and routing within the same format. An 8-channel input block can be routed to any number of output blocks in parallel. Some application examples: 
</p><ul>
<li>Managing long distances with a single cable 
</li><li>ADAT breakout box for devices with MADI interface 
</li><li>Connecting MADI-based equipment to RME's Hammerfall series 
</li><li>ADAT optical patchbay and router 
</li><li>MADI coaxial / optical or vice-versa converter and splitter 
</li><li>MADI redistributor, patchbay and router </li></ul>
<p>The ADI-648 is compatible to all forms of increasing the sample rate (Double Speed). It supplies word clock in single or double speed, distributes 96 kHz signals in Double Wire mode into the MADI data stream, or per Sample Split (S/MUX) to the ADAT ports, but is also capable of double MADI rate (96k Frame). The ADI-648 thus also represents an ideal MADI front-end for the Hammerfall and Hammerfall DSP series. 
</p><p>SyncAlign® and SyncCheck®, technologies known from and proven by other RME products, allow for perfect sync between all channels and easy notification of error states. And of course multiple devices can be cascaded and synchronized sample-accurate using word clock. The ADI-648 accepts 56 channels, 64 channels and 96k frame at its input, and can be set to generate those formats at its output. This way the ADI-648 even serves as perfect interface between otherwise incompatible MADI devices! 
</p><p>The compact device with 19" width and 1HU has numerous further outstanding features, like Intelligent Clock Control (ICC) and storing of the settings. It's even possible to transmit 16 MIDI channels in parallel to all 64 audio channels. A fully automatic input selection between optical and coaxial input offers a useful redundancy mode for critical applications. Extensive status displays give information about Lock and Sync states, audio content and the physical quality of the incoming signal. A digital PLL, designed especially for the ADI-648, allows for operation without an additional word clock line. The reference clock is then extracted from the MADI signal itself. </p>

RME ADI-648 MADI-ADAT Converter
24 Bit/96 kHz 64 Channel MADI, 8 X 8 ADAT Patchbay, S/ MUX, WC I/O, Optical/Coax Format Converter

The <span style="font-weight: bold;">RME ADI-8 DS</span> is nearly identical to the ADI-8 PRO. Additional features include 88.2 and 96 kHz sample rate and Dither. 
<p>DS stands for Double Speed, meaning double sample rate. As ADAT® optical does not support sample rates higher than 48 kHz the DS mode requires two channels to transmit the data of one channel. The used method called Sample Split is compatible to S/MUX, and also found in the Hammerfall and Hammerfall Light. The combination Hammerfall/ADI-8 DS allows DVD-compatible Hi-End recordings (up to 8 channel @ 96 kHz), at an astonishing low price. 
</p><p>The ADI-8 DS is an 8 channel AD/DA converter with reference approach. The compact 19" 1U rackmount enclosure includes several outstanding features, like Intelligent Clock Control (ICC), SyncCheck®, SyncAlign®, TDIF/ADAT converter and Bit Splitter. AD- and DA-circuit automatically operate either independently or linked. The latest 24 bit converters with 128 times oversampling achieve 117 dBA true dynamic range. All digital inputs and outputs operate at full 24-bit resolution. If you have been waiting for a flexible, fully professional yet affordable multi-channel converter - the wait is over. 
</p><p>Use the following feature list to compare our ADI-8 DS with all other multitrack converters, and you will agree: The ADI-8 DS has the best price/performance ratio! 
</p><p>
</p><li>8 channel AD-converter, completely symmetrical and DC-coupled audio path, 117 dBA SNR AD 
</li><li>8 channel DA-converter, balanced output, 112 dBA DA 
</li><li>ADAT optical inputs, 24 bit, based on RME's unsurpassed Bitclock PLL for sample accurate lock 
</li><li>ADAT optical outputs, 24 bit, fully compatible to all ADAT optical inputs 
</li><li>TDIF-1 interface, 24 bit, Low Jitter PLL, Emphasis support, DA-88 compatible 
</li><li>Bit Split/Combine, Yamaha 02R compatible technique to record 24 bit data onto 16 bit machines 
</li><li>Copy Mode adds a unique 24 bit ADAT to/from TDIF converter 
</li><li>Bit Split/Combine, Copy Mode, ADAT and TDIF usable in all combinations 
</li><li>Digital Patchbay operation, allows to copy, duplicate and distribute the digital input signals 
</li><li>Dither available, for full compatibility to 16 bit even at 96 kHz 
</li><li>SyncCheck, unique technology to check clock synchronisation 
</li><li>Virtual Sample Buffer, allows to use the internal Low Jitter Clock (quarz crystal) even for DA-conversion 
</li><li>Automatic storage of all settings </li>

RME ADI-8 DS
24-Bit/96kHz, 8-Channel ADAT/TDIF, Word Clock, Bit Split, D-Sub, S/MUX, AD/DA Format Converter

The <span style="font-weight: bold;">RME ADI-8 DS</span> <span style="font-weight: bold;">Broadcast</span> is nearly identical to the ADI-8 PRO. Additional features include 88.2 and 96 kHz sample rate and Dither. 
<p>DS stands for Double Speed, meaning double sample rate. As ADAT® optical does not support sample rates higher than 48 kHz the DS mode requires two channels to transmit the data of one channel. The used method called Sample Split is compatible to S/MUX, and also found in the Hammerfall and Hammerfall Light. The combination Hammerfall/ADI-8 DS allows DVD-compatible Hi-End recordings (up to 8 channel @ 96 kHz), at an astonishing low price. 
</p><p>The ADI-8 DS is an 8 channel AD/DA converter with reference approach. The compact 19" 1U rackmount enclosure includes several outstanding features, like Intelligent Clock Control (ICC), SyncCheck®, SyncAlign®, TDIF/ADAT converter and Bit Splitter. AD- and DA-circuit automatically operate either independently or linked. The latest 24 bit converters with 128 times oversampling achieve 117 dBA true dynamic range. All digital inputs and outputs operate at full 24-bit resolution. If you have been waiting for a flexible, fully professional yet affordable multi-channel converter - the wait is over. 
</p><p>Use the following feature list to compare our ADI-8 DS with all other multitrack converters, and you will agree: The ADI-8 DS has the best price/performance ratio! 
</p><p>
</p><li>8 channel AD-converter, completely symmetrical and DC-coupled audio path, 117 dBA SNR AD 
</li><li>8 channel DA-converter, balanced output, 112 dBA DA 
</li><li>ADAT optical inputs, 24 bit, based on RME's unsurpassed Bitclock PLL for sample accurate lock 
</li><li>ADAT optical outputs, 24 bit, fully compatible to all ADAT optical inputs 
</li><li>TDIF-1 interface, 24 bit, Low Jitter PLL, Emphasis support, DA-88 compatible 
</li><li>Bit Split/Combine, Yamaha 02R compatible technique to record 24 bit data onto 16 bit machines 
</li><li>Copy Mode adds a unique 24 bit ADAT to/from TDIF converter 
</li><li>Bit Split/Combine, Copy Mode, ADAT and TDIF usable in all combinations 
</li><li>Digital Patchbay operation, allows to copy, duplicate and distribute the digital input signals 
</li><li>Dither available, for full compatibility to 16 bit even at 96 kHz 
</li><li>SyncCheck, unique technology to check clock synchronisation 
</li><li>Virtual Sample Buffer, allows to use the internal Low Jitter Clock (quarz crystal) even for DA-conversion 
</li><li>Automatic storage of all settings </li>

RME ADI-8 DS Broadcast
24 bit/96k, 8 ch ADAT/TDIF/ 4x AES/EBU, S/MUX, WC I/O Format Convertor +24dBu max. input level, 6dB more output level.

RME ADI-8 QS
8 Channel 24 Bit/192 kHz Remote Controllable AD/DA Converter

RME AO4S 192 AIO
4-Channel, 24 Bit / 192 kHz, Analog Output Expansion Board for HDSPe AIO and HDSP 9632

RME BOB1 Breakout Box for HDSP9632
Breakout Box for HDSP 9632

The <span style="font-weight: bold;">RME BOB-32</span> breakout box is the ideal solution for interconnecting XLRs and D-Subs. The concept is highly effective and convincing in its simplicity: 
<p>There are eight XLR AES/EBU inputs and eight XLR AES/EBU outputs on one side of the BOB-32. The other side provides two D-Sub connectors with 2 different pinout formats (internally switched) to choose between TASCAM/Digidesign or YAMAHA format. Thanks to a highly innovative design, the box can simply be "folded" in the middle, bringing all connectors to one side – a simple, yet brilliant solution: BOB-32 is the ideal companion to all devices that use digital D-Sub connectors with TASCAM/Digidesign or YAMAHA pinout.</p>
<p>The BOB-32 is also the ideal interconnection for RME´s HDSP AES-32 card. <br>(HDSP AES-32 uses TASCAM/Digidesign pinout format)</p><b>Technical Specifications and I/O Connectivity</b>
<p></p>
<ul>
<li>Passive I/O unit, no power supply needed 
</li><li>8 x XLR In 
</li><li>8 x XLR Out 
</li><li>2 x D-SUB 25-pin connector, internally switchable to TASCAM/Digidesign or YAMAHA pinout. </li></ul>

RME BOB32 Universal Breakout Box
AES/EBU Universal Breakout Box

The <span style="font-weight: bold;">RME Babyface</span> 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!<br>

<br>

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!<br>

<br>

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.<br>
<br>
<span style="font-weight: bold;">Connectivity</span><br>
<ul><li>10 Input / 12 Output channels</li><li>2 x Analog Input</li><li>4 x Analog Output</li><li>1 x ADAT I/O or 1 x SPDIF I/O optical</li><li>1 x MIDI I/O</li><li>1 x USB 2.0</li><li>2 x Mic Preamp with digitally controlled gain</li><li>1 x Hi-Z instrument input</li><li>TotalMix FX (with EQ, Reverb, Echo)</li></ul>

<span style="font-weight: bold;">Features</span><br style="font-weight: bold;">

<br>

<span style="font-weight: bold;">Analog I/Os</span><br>

The balanced XLR I/Os and the TRS phones outputs use RME's analog 
circuit design, therefore guarantee outstanding noise and distortion 
values. The latest generation AD/DA converters provide sample rates up 
to 192 kHz with an SNR of up to 115 dBA. Due to its efficient jitter 
reduction, SteadyClock(TM) guarantees pristine sound quality, even when 
clocking to an external digital source.<br>

<br>

<span style="font-weight: bold;">High-End Mic Preamps</span><br>

Both digitally controlled preamps provide individually switchable 48V 
phantom power. A gain of up to 60 dB, adjustable in steps of 3 dB over a
 range of 51 dB, exceptional EIN performance even at low amplification 
settings, and extremely low THD+N values let these preamps surpass those
 of other devices that cost several times the price of the Babyface. All
 level settings are 100% recallable by the setup software and can be 
comfortably adjusted directly at the unit.<br>

<br>

<span style="font-weight: bold;">Digital I/Os</span><br>

The incredible feature set includes an optical TOSLINK I/O, usable as 
ADAT port with SMUX support or SPDIF optical at up to 192 kHz. In 
combination with an ADAT converter, like RME ADI-8 QS or OctaMic II, the
 Babyface provides an incredible amount of 10 analog input and 12 output
 channels.<br>

<br>

<span style="font-weight: bold;">Phones Output</span><br>

The additional headphone output, driven from a separate and dedicated DA
 converter, delivers the full sonic experience of up to 192 kHz and is 
available not only directly at the unit but also at the breakout cable. 
Perfect for two separate headphones or additional monitors. The phones 
level is easy to adjust and control with a simple click of the select 
button and the main volume knob.<br>

<br style="font-weight: bold;">

<span style="font-weight: bold;">Instrument Input</span><br>

Directly plug in your guitar or other instruments by switching one input
 to Hi-Z input mode. Recording any instrument becomes a breeze and does 
not require any other hardware.<br>

<br style="font-weight: bold;">

<span style="font-weight: bold;">MIDI I/O</span><br>

The integrated MIDI I/O completes the list of features and turns the 
Babyface into a creative audio system of universal usability. Do what 
you want - wherever you want!<br>

<br>

<span style="font-weight: bold;">Perfect Control</span><br>

With one main control knob and two single buttons the elegant Babyface 
acts as a perfectly designed direct desktop control for all typical 
studio tasks: volume control, reference volume store and recall, volume 
dim, input selection/switching, input gain control - quick and easy 
access to all functions has been a major point during design and 
development. The LED bars serve as both level and gain meters, visually 
supporting the precise control of all inputs, outputs and headphone 
levels directly at the interface.<br>

<br>

<span style="font-weight: bold;">USB Made by RME</span><br>

The Babyface provides RME's unmatched USB pro audio technology for 
revolutionary ultra-low latencies on Mac and PC. Under both operating 
systems the available latencies are simply sensational and provide an 
exceptional performance.*<br>

<br>

* Minimal latencies are not guaranteed as they depend on the specific computer and application.<br>

<br>

<span style="font-weight: bold;">Full mobility</span><br>

The ultra-portable Babyface has been designed for bus-powered operation 
(some systems might require a special two USB connector cable - 
included). This turns the Babyface into the perfect partner for mobile 
recording of live performances, composing sessions in a park or coffee 
shop, or just wherever you go. Even if you just see it as a good looking
 HIFI music player or home studio companion - it will work perfectly on 
every desktop and laptop computer.<br>

<br>

<span style="font-weight: bold;">Rear Connectors</span><br>

The Babyface provides two optical I/Os and a 15-pin D-sub connector. 
Both TOSLINK connectors for ADAT or SPDIF optical are on the back of the
 Babyface. The breakout cable - connected directly or via a special 
extension cable - offers the following connections:<br>

<ul><li>4 x XLR balanced (Analog I/O)</li><li>1 x 1/4" TRS for Phones (= Analog Out 3+4)</li><li>2 x DIN (MIDI I/O)</li></ul>

The breakout cable is identical to the balanced analog cable of the 
HDSPe AIO card (BO9632XLRMKH). A breakout cable with unbalanced outputs 
is available as option (BO9632CMKH).<br>

<br style="font-weight: bold;">

<span style="font-weight: bold;">More features</span><br>
<ul><li>
Sample rates up to 192 kHz on all I/Os (including two ADAT channels via SMUX4)</li><li>
Two digitally controlled microphone preamps in high-end quality</li><li>
Two balanced universal inputs for line and instrument signals</li><li>
SteadyClock for maximum jitter suppression and clock refresh</li><li>
Direct operation with rotary encoder and keys</li><li>
TotalMix FX: Newly developed internal DSP high-end mixer</li><li>
Full mobility by bus powered operation</li><li>
DIGICheck, RME's unique meter and analysis tool included</li><li>
Peak and RMS are hardware-calculated for all channels</li></ul>

<span style="font-weight: bold;">TotalMix FX</span><br>

The next generation of TotalMix delivers hardware mixing/routing with 
lots of new features and a highly improved usability. For a seamless 
integration of the new features TotalMix has been rewritten from the 
ground up. The DSP mixer now not only matches features of high-end 
digital consoles but even adds effects like a 3-band parametric EQ plus 
Low Cut on all input and output channels. The Babyface also provides a 
separate FX send bus for all inputs and software playback channels, 
feeding two effect engines: Reverb and Echo. Every output channel 
includes a FX return control for the FX output signal.<br>

<br>

<span style="font-weight: bold;">Features/Differences to classic TotalMix:</span><br>

<ul><li>New design and improved usability</li><li>Control Room Section: Dedicated section for the main output (e. g.
 studio monitors) and other monitoring outputs (e. g. phones). All 
existing stereo output channels can be freely assigned as source for the
 control room section channels.</li><li>Four definable groups for Solo, Mute and Faders</li><li>Switchable Mono and Stereo channel view</li><li>Channel Options: Stereo Width, MS Processing, Phase L/R</li><li>Trim mode: Adjusts the volume for all routed signals of a channel.
 This option allows to modify the volume of all sends of a channel 
simultaneously, equaling a hardware's trim functionality.</li><li>Unlimited Undo and Redo</li><li>FX Sends and Returns: One send bus for every input/playback channel with Reverb/Echo</li><li>Expandable channel view for channel settings and EQ setup</li><li>Slim channel mode for selected or all channels, to save space or give a meter bridge view</li><li>2-Row Mode: reduces the height of the mixer to two rows for smaller displays</li></ul>

The DSP-based hardware calculates RMS and Peak levels for all channels without causing any CPU load.

RME Babyface
22 Channel, 192kHz Bus-powered USB High Speed Audio Interface

RME External Power Supply
Power supply for HDSP CardBus card

The RME Fireface 800 revolutionized the world of FireWire audio interfaces. Now the revolution continues: The <b>RME Fireface 400</b> is not just the little brother of the Fireface 800 - it is a completely newly designed device. It is the only device in its class with active jitter suppression, stand-alone functionality, complete controllability from the front panel, highly flexible I/Os in professional quality, and an unsurpassed 648-channel matrix router - at sample rates up to 192 kHz. <br><br>As usual, RME offer a host of sophisticated features and characteristics. These include: 
<ul>
<li>Two digitally controlled Mic Preamps in high-end quality 
</li><li>Two balanced universal inputs for line and instrument signals 
</li><li>SteadyClock for maximum jitter suppression and clock refresh 
</li><li>Simple stand-alone operation with rotary encoder and front panel display 
</li><li>54 Level Meter Peak/RMS, hardware-calculated 
</li><li>Full mobility by Bus Power support 
</li><li>DIGICheck, RME's unique meter and analysis tool 
</li><li>TotalMix: 648-channel mixer with 42-bit internal resolution </li></ul>The DSP-based TotalMix mixer allows fully independent routing and mixing of all 18 input and output channels to all 18 physical outputs. Up to 9 totally independent stereo sub-mixes simply mean unrivalled monitoring facilities. Copy/paste of routings, ganging and group-based operation of faders, and the extraordinary Matrix window are just some of the mixer's unique features. The mixer can be completely MIDI controlled, even in stand-alone operation. Furthermore the DSP hardware calculates RMS and Peak levels for all 54 audio channels, without causing any significant CPU load. <br><br>A word clock input and output (BNC) plus two MIDI I/Os (breakout cable, 5-pin DIN) complete the analog/digital feature list and turn the Fireface 400 into an entire audio system of the highest quality. <br><br>The Fireface 400 excells as portable all-in-one solution when it comes to power supply. The included switching power supply accepts voltages from 100 to 240 V, thus can be operated all over the world. A rear panel switch enables Bus Powered operation, taking the power directly from the FireWire connector. To avoid potential problems, both the unit's internal power supply and the protective circuits at the FireWire port were specially designed and thoroughly tested. <br><br>Eight inputs and outputs (balanced, output 7/8 unbalanced) with software controlled switching of the reference levels (-10 dBV, +4 dBu, Lo/HiGain), of course realized discretely in the analog domain, guarantee highest dynamic range and highest fidelity. <br><br>The Fireface 400's front panel 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 steps of 1 dB over a range of 55 dB, exceptional EIN performance even at low pre-amplification settings, and extremely low THD+N let these preamps surpass those of other devices that cost several times the price of the Fireface 400. All level settings are 100% reproducible and can also be adjusted by software comfortably. <br><br>Inputs 3 and 4 are extremely flexible balanced universal inputs. Firstly, they operate exactly as inputs 5 to 8 on the rear and can be adjusted to accept standard studio input levels (+4 dBu, LoGain). Furthermore, the input impedance can be switched from Line (10 kOhm) to Instrument (470 kOhm). An additional analog input amplification of up to 18 dB (in steps of 0.5 dB) is also available. In short: There's no signal that these inputs can't deal with perfectly! <br><br>Inputs 5 to 8 on the rear feature RME's proven level references. -10 dBV, +4 dBu und LoGain can be selected in the settings dialog, equivalent to +2 dBV, +13 dBu und +19 dBu for digital full scale. The same applies to the balanced rear analog outputs 1 to 6. The high power phones output offers high volumes even with low-impedance headphones, and represents playback channels 7/8. All outputs can be used for ASIO Direct Monitoring purposes. <br><br><b>Digital I/Os</b> <br>An ADAT optical I/O allows for a connection and insertion of effects devices, mixing consoles or external converters. Of course, these 8 channels are available simultaneously with the analog channels. Using an additional ADI-8 DS or OctaMic D, you'll get 16 analog inputs and outputs, which remain still 12 at 96 kHz. The coaxial SPDIF I/O , which is fully AES/EBU compatible (as is common for RME), also works up to 192 kHz, which means that at the highest sample rate, 8 analog and two digital inputs and outputs are directly available. SPDIF can also be accessed through the optical I/O, which also works up to 192k - a world exclusive RME feature. <br><br><b>Features:</b> <br>Thanks to an internal flash memory, all settings including TotalMix are recalled during boot. The device can thus be configured and used as a stand-alone device, without being connected to a computer, e.g. as a submixer, A/D and D/A-converter, headphone mixer, format converter, instrument or microphone pre-amplifier, monitoring mixer and much more. <br><br>The Fireface 400 is equipped with SteadyClock™, RME's unique sync and clock technology. With this, the device becomes a sync reference for the whole studio. SteadyClock refreshes clock signals, removes jitter, and takes permanent care of optimal conversion quality, thus guarantees a sensational sound quality, completely independent from the reference clock's quality. <br><br>SteadyClock allows the unit to control the sample rate freely on its own. The Settings dialog includes a direct choice of the video and audio world's most often used sample rates. Additionally, two faders can be used to set the sample rate freely and in real-time, within the range of +/- 4% and +/- 0.4%. <br><br>Fireface 400 uses RME's own FireWire techology, heavily optimized for audio purposes (RME is the only manufacturer not to use a third party FireWire audio technology). Minimum overhead, special hardware adaptations, and a new low-latency buffer concept allow a performance and compatibility considered impossible for FireWire audio until now. This includes changing latency in mid-operation, latencies down to one ms, or an immediate reaction to changes of the sample rate. Further optimizations and additional features can be added at any time by Flash Updates. <br><br>Of course the Fireface 400 offers a second FireWire port for hub functionality. Several devices can be connected to one FireWire interface and operated in parallel. The renowned Fireface 800 shares the same driver, allowing mixed setups.

RME Fireface 400
FireWire 400 Audio/MIDI Interface with 24-Bit/192kHz Audio, ADAT and S/PDIF I/O

The <b>RME Fireface 800</b> is the world's most powerful FireWire audio interface ever. Up to 56 channels record/playback, up to 192 kHz sample rate, and true FireWire 800 sum up to an unsurpassed high-end, high performance and high speed FireWire audio interface. Since the Fireface first shipped in July 2004, the unit became the reference for FireWire audio - and still is today! Lots of 'world's first' and 'world's only' features put the Fireface 800 far ahead of the competition. Read on to find out more! <br><br>The Fireface 800 combines the latest and also proven technologies of previous RME products with the fastest FireWire technology. Analog technology of the ADI-8 converters, microphone technology of QuadMic and OctaMic, TotalMix technology of the Hammerfall DSP series, years of experience in programming of efficient and reliable drivers, up to complete support from DIGICheck - only the best of the best, and even a bit more. The Fireface 800 offers the best worked out instrument input that could ever be found in an audio interface, a high power headphone output and signal-to-noise ratios of 119 dBA - typically RME! <br><br><b>Analog I/Os</b> <br>Eight balanced line inputs and outputs with software controlled switching of the reference levels (-10 dBV, +4 dBu, HiGain), of course realized discretely in the analog domain, guarantee highest dynamic range and highest fidelity. Apart from the levels of the microphone pre-amps and the headphone outputs, all device settings are software controlled. Equipped with the latest A/D and D/A converter chips, all I/Os operate up to 192 kHz and reach 119 dBA dynamic range on playback - even the headphone output! <br><br>The front-sided headphone output in high power technology does not only deliver high volume with low-impedance headphones, but represents the playback channels 9/10. Therefore the headphone output can be used directly with ASIO Direct Monitoring. <br><br>On the front side, the Fireface 800 has 4 discrete balanced microphone inputs with class-A stage, separate activation of 48 V phantom power and separate XLR/TRS inputs, where the latter can also be used as adjustable Line inputs with a gain range of 50 dB! Two of the four mic inputs are permanently available as channels 9 and 10, the other two can be used together with or alternatively to the inputs 7/8 on the back. <br><br><b>Let's Rock!</b> <br>The FireFace 800's Hi-Z instrument input offers an unprecedented fidelity and flexibility for the use of guitar and bass. A soft-limiter, which has been tuned especially for musical instruments, efficiently prevents overloads of the A/D-converter. The limiter does not work without distortion, it intentionally creates harmonic distortion. Due to a soft transition and deliberate creation of harmonics, the input signal is compressed steplessly according to taste, or the limiter can be used as a distortion with tube sound. A Drive circuit, which can be activated in addition, delivers broad guitar distortion. The Speaker Emulation filter, which can also be switched on separately, takes low- and high-frequency disturbances away and guarantees an optimal basic sound even when recording directly into the computer, or when monitoring through a mixing console. Signals from guitar or bass are not being alienated in this case, but pre-conditioned for later processing in the DAW, so that the known amplifier plug-ins can make the most out of the sound. <br><br><b>Digital I/Os <br></b>Two ADAT optical I/Os allow for a connection and insertion of effects devices, mixing consoles or external converters. Of course, these 16 channels are available simultaneously with the analog channels. Using two additional ADI-8 DS, you'll get 26 analog inputs and outputs, which remain still 18 at 96 kHz. The coaxial SPDIF I/O works up to 192 kHz, so that there are still 10 analog in- and outputs at the highest sample rate, plus two digital ones. SPDIF optical, alternatively provided via the second ADAT port, also operates up to 192 kHz - another RME-only feature.<br><br><b>Features</b> <br>All inputs and outputs can be used at the same time*!. E. g., the instrument input can be used either instead of the line input on the back, or together with it. Even the TRS jack and the XLR socket of the microphone inputs can be used simultaneously. This way, up to 35 signal sources can be connected to the Fireface 800 and recorded onto 28 separate tracks! <br><br>Thanks to the DSP-based TotalMix mixer, known from the Hammerfall DSP series, all inputs and outputs can be freely mixed, distributed and routed. Up to 14 completely independent stereo submixes are possible. Each of the mixer's output channels, that is every single submix channel, can be recorded directly, without the need of external cable loops. And there's more: TotalMix can be MIDI remote controlled with any Mackie Control compatible controller. <br><br>Thanks to an internal flash memory, all settings including TotalMix are recalled during boot. After making all desired settings, the device works stand-alone even without computer as a submixer, A/D and D/A-converter, headphone mixer, format converter, instrument or microphone pre-amplifier, monitoring mixer and much more. <br><br>The Fireface 800 is equipped with SteadyClock™, RME's unique sync and clock technology. With this, the device becomes a sync reference for the whole studio. SteadyClock refreshes clock signals, removes jitter, and takes permanent care of optimal conversion quality, thus guarantees a sensational sound quality, completely independent from the reference clock's quality. <br><br>SteadyClock allows the Fireface 800 to control the sample rate freely on its own. The Settings dialog includes a direct choice of the video and audio world's most often used sample rates. Additionally, two faders can be used to set the sample rate freely and in real-time, within the range of +/- 4% and +/- 0.4%. <br><br>Via an insert slot on the back, a Time Code Option (TCO) for synchronizing to LTC and video can be added. Thanks to SteadyClock, the Fireface 800 does not only extract absolute positions, but also a very clean low-jitter word clock. <br><br>Fireface 800 uses RME's own FireWire techology, heavily optimized for audio purposes. Lowest overhead, special hardware adaptations and a new low latency buffer concept enable a performance and compatibility which has been thought of as impossible until now - at latencies of only one millisecond. <br><br>The Fireface 800 has a second port for hub functionality, bi-lingual mode for full FireWire 400 compatibility, and an additional FireWire 400 port. Several Fireface 800 can be used in parallel and at the same time on one FireWire port without any problem.

RME Fireface 800
FireWire 800 Audio/MIDI Interface with 24-Bit/192kHz Audio, ADAT and S/PDIF I/O.

The compact <span style="font-weight: bold;">RME Fireface UC</span> has 
been uncompromisingly optimized for highest performance under Windows 
and Mac OS. Based on a newly developed RME Hammerfall core the Fireface 
UC provides revolutionary ultra-low latencies even with multiple 
channels. It uses two different firmware versions with different 
transfer methods to remove current restrictions of typical USB audio 
interfaces. The unit's operating mode Win or Mac can be changed directly
 at the unit at any time. Under Mac OS the Fireface's MIDI ports are 
class compliant, the operating system therefore automatically uses the 
included MIDI driver.<br>
<br>
Under both Operating Systems the available latencies* are simply 
sensational. The smallest buffer offered under Windows has 48 samples, 
under Mac OS X 14 samples. With this RME provides a performance 
previously not available from USB audio interfaces. <br>
<br>
The new interface not only makes the leading-edge RME Fireface 
technology available for every PC and Mac computer, it also provides a 
unique low-latency concept and a high grade of performance and 
compatibility, making the dream of the perfect and future-proof mobile 
pro audio recording solution come true.<br>
<br>
The Fireface UC features all of the proven RME analog and digital 
circuitry. It is the only device in its class with active jitter 
suppression, enhanced stand-alone functionality and complete 
controllability from the front panel, highly flexible I/Os in 
professional quality, and an unsurpassed 648-channel matrix router - at 
sample rates of up to 192 kHz.<br>
<br>
<span style="font-weight: bold;">Integrated DSP mixer</span><br>
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.<br>
<br>
<span style="font-weight: bold;">Analog I/O</span><br>
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.<br>
<br>
<span style="font-weight: bold;">Preamps</span><br>
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.<br>
<br>
<span style="font-weight: bold;">Digital I/O</span><br>
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.<br>
<br>
<span style="font-weight: bold;">Word Clock & MIDI</span><br>
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.<br>
<br>
<span style="font-weight: bold;">More Features</span><br>
<ul><li>Sample rates up to 192 kHz on all I/Os (including 2 ADAT channels 
with SMUX4)</li><li>Two digitally controlled Mic Preamps in high-end quality</li><li>Two balanced universal inputs for line and instrument signals</li><li>SteadyClock for maximum jitter suppression and clock refresh</li><li>Enhanced stand-alone operation with rotary encoder and front panel
 display</li><li>TotalMix: 648-channel mixer with 42-bit internal resolution</li><li>54 Level Meter Peak/RMS, hardware-calculated</li></ul>
<br>
<font size="1"><span style="font-style: italic;">* Minimal latencies are
 not guaranteed as they depend on the specific computer and application.</span></font>

RME Fireface UC
36 Channel, USB High-Speed Audio Interface, 9 1/2", 1HU

The <span style="font-weight: bold;">RME Fireface UFX</span> has 60 channels of audio, digitally controlled high-end preamps, reference class converters and full 192 kHz operation.<br> <br> Ultra-low latency operation with USB and FireWire, combined with the  legendary RME driver stability and maintenance. Including active jitter  suppression, professional reference level support, advanced stand-alone  functionality, RME's unique DIGICheck metering and analysis toolbox, and  - of course - nearly identical operation and features on Windows PC and  Mac.<br> <br> On top of it: TotalMix FX, the new digital high-end mixer and signal  router, driven by two powerful DSP, with integrated EQ, Dynamics and  Reverb/Echo effects up to 192 kHz plus a built-in monitoring control.<br> <br> The full-blown feature set is backed up by extraordinary usability. At  its heart is a bright multi-functional colour display with full front  panel metering for all 60 channels plus effect bus, and complete control  of all key features - directly from the front of the UFX.<br> <br> RME's new Fireface flagship is a highly integrated pro audio solution, a  full-blown studio packed in a 19" enclosure. An interface designed for  users who don't want to make compromises in sound, stability and  ultra-low latency operation, and who long for an unrivaled professional  feature set. Once again a milestone interface from RME, including the  best of the best - and even a bit more.<br> <br> <span style="font-weight: bold;">Connectivity</span><br> <ul><li>30 Input / 30 Output channels</li><li>12 x Analog I/O</li><li>4 x Mic/Instrument Preamp, digitally controlled</li><li>1 x AES/EBU I/O</li><li>2 x ADAT I/O (or 1 x ADAT I/O plus 1 x SPDIF I/O optical)</li><li>1 x Word Clock I/O</li><li>2 x MIDI I/O</li><li>1 x FireWire 400</li><li>1 x USB 2.0</li><li>TotalMix FX</li><li>Optional: Hardware Monitor Remote Control</li></ul>

RME Fireface UFX
60-Channel, USB 2.0 High-Speed or FW Audio Interface, 19", 1HU

RME HDSP 96/52 Audiocard
24-bit/96kHz PCI Audio Card with 24-ch ADAT, 2-ch S/PDIF, MIDI, and Word Clock I/O.

RME presents the world’s most versatile PCI Audio Interface – The <span style="font-weight: bold;">RME HDSP 96/32</span> - the Hammerfall DSP 9632. This card makes the dream of an All-In-One solution for every possible application come true. As usual, RME has not made any compromises: Latest AD- and DA-converters with more than 110 dB signal to noise ratio, all inputs and outputs simultaneously operational, easy-to-install optional analog expansion boards, the famous TotalMix, a newly developed, high-quality clock generator with total jitter suppression of external clock signals – all this combines into a 'soundcard' that the world has been waiting for so long. 
<p>An easy to handle ribbon cable connects the newly developed optional AI4S-192 and AO4S-192. These analog expansion boards having one bracket with 4 stereo TRS jacks offer the same performance as the on-board stereo analog I/O of the HDSP 9632: up to 192 Khz, balanced and 3 different reference levels. With this a maximum of 6 inputs and/or outputs can be achieved. 
</p><p>HDSP 9632 also supports the existing Expansion Boards (EXB). An internal ADAT input and an internal ADAT output allow for up to 14 analog inputs, 14 analog outputs, or the usage of a TDIF interface, directly inside the computer. 
</p><p>If you can THINK it, you can DO it with the HDSP9632! 
</p><p>Our recommendation for a killer combo would be: <br>HDSP 9632 + WCM + AI44s-192 + AO4s-192 + TEB = all operational at the same time, occupying 1 PCI and 4 more bracket slots within the PC - There's no stopping now! 
</p><p><b>Unique Technologies in Hammerfall DSP</b> </p>
<p>
</p><li>AutoSync Intelligent clock control according to operational mode and present/desired sample rate. 
</li><li>Bitclock PLL The most reliable receiver circuit for ADAT optical signal. 
</li><li>Dynamic Bus Utilization Scalable computer load according to the current usage. 
</li><li>Enhanced ZLM® Monitoring of the input signal, independent from clock mode and sample rate. 
</li><li>Intelligent Clock Control Measurement and display of all incoming and used clocks. 
</li><li>Latency Fast Change Change latency on-the-fly under ASIO, without manual reset or re-boot. 
</li><li>SyncAlign® Surveillance and sample accurate synchronization of all channels. 
</li><li>SyncCheck® Comparison and display of all input clock status. 
</li><li>Zero Latency Monitoring (ZLM®) Automatic monitoring of the input signal with zero latency. 
</li><li>
<p>Total Mix - Mixes all inputs and all outputs on all outputs. Several independent submixes possible.</p>
</li><li>
<p>DigiCheck DSP - Professional status and level display at lowest CPU load.
</p><p></p></li>

RME HDSP 9632 Audiocard
24-bit/192kHz PCI Card w/Balanced Analog, Digital ADAT, S/PDIF & MIDI.

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