Designed to provide professional audio over digital networks, the RME 12Mic Preamp for Audio Networksoffers 12 channels of high-quality audio microphone preamps with MADI and ABV connections. You get preamps for mic, line-level, and instrument sources; preamps that can output digitally through a variety of different connections. It does this in a compact 1 RU housing and with the ability to control all of its routing capabilities wirelessly when configured into a wireless network.

Each of its 12 pad-free input stages offer a 75 dB range of transparent gain. You'll find four combination XLR-1/4" inputs and eight XLR inputs. Selecting among line level, mic level, or instrument level is made possible by the front-panel control menu or can be done wirelessly on any network link via the web interface.

On the digital side, you'll find BNC MADI I/O, three ADAT ports, MADI via an integrated SFP module, USB connectivity, and two Ethernet ports for AVB networking. MADI can be implemented for independent or redundant operation. The Ethernet ports are fully redundant.

Any signal can be routed over a network with a fixed latency to ensure steady playback. RME's SteadyClock FS also ensures precise synchronization among elements, giving you a performance free from jitter so your audio is as clear as it can be. The unit also features a redundant power supplies: use the DC input and the IEC VAC input, ensuring that accidental disconnection of either won't cause the 12Mic to shut off.

Integrated MADI & AVB Connectivity    Studio-Quality AD Conversion    75 dB Gain Range    Accepts Analog Signals up to +18 dBu    3 Optical ADAT Outputs    4 x Combination XLR-1/4" Inputs    4 x XLR Inputs    1 x 1/4" Headphone Output    Redundant Power Supply, MADI & AVB    Transparent Sound

The pad-free microphone input stages have a gain range of 75 dB, and accept signals of up to +18 dBu. On the conversion side, the unit provides a signal-to-noise ratio of 121.2 dBA on all channels. All twelve front-facing XLR connections accept microphone and line level signals, while the first four connections also accept TRS connectors, with a switchable impedance for instruments.

The RME 12Mic offers twelve microphone and line-level inputs with studio-quality digital conversion, remote-controllable gains, and integrated MADI and AVB connectivity.

Both coaxial and optical (via an SFP module) MADI I/O is available for independent or redundant operation. The digital I/O can be used for daisy-chaining, merging, and converting MADI signals at low latency. 3 optical ADAT outputs provide up to 24 channels of audio at single speed (for example, a combination of microphone inputs, MADI signals and AVB signals), or 12 output channels at 96 kHz sampling rate. This ensures compatibility with a wide range of audio interfaces. Additionally, the ADAT ports can also be used to send monitor mixes from the AVB or MADI inputs to existing DACs/headphone amps.

For the first time, RME offers an AVB device with two fully redundant network ports, based on the recommendations of MILAN. The RME AVB Core has IEEE standards for audio streaming, discovery, and control, allowing RME devices to be both discovered and fully controlled by any AVB controller. Any signal reaching the 12Mic can be routed and streamed over a network with fixed latency and guaranteed bandwidth. No switch configuration is required.

Control all device states directly from the front panel for convenient, direct access to all features. RME AVB devices can also be fully remote controlled via a web-interface on any network link (including wirelessly over Wi-Fi), allowing for the rapid creation of gain groups, phantom-power switching, and routing of signals to headphones for monitoring. The integrated routing matrix allows for quick routing of any analog inputs straight to the headphone output, as well as all digital signals and AVB streams. This makes problem-solving for signals, clocking, connectivity, or other issues both simple and straight-forward.

Related Questions and Answers

Q: 1. I plan to use this with an h4n zoom or h5 zoom or a tascam 60d , which fethead should I get, there is an in line and fathead regular or fethead phantom? please kindly clarify before I order. thanks!

A: It depends on the mic you are using. if your mic needs phantom power (condenser) then get the fethead phantom. If the mic does not need phantom power (dynamic) get the regular.

Q: 2. Can you use this as the main switch to connect 4 more devices to the "network"? I only have 5 machines that need Dante.

A: Yes the RME Digiface Dante can connect to 4 devices.

Q: 3. Can this be utilized as USB audio interface for Akai Force Firmware 3.1?

A: Possibly. We do not test interfaces with third party software or hardware.

Q: 4. I know there doesn't seem to be any way to turn off the phantom pass through. Can you use this on dynamic mics like the Shure SM7b without any problem? Thanks.

A: The FetHead Phantom is only designed for condenser mics. The standard FetHead is designed specifically for dynamics such as the SM7B and ribbon mics as well.

Q: 5. How is this with omni-directional mics? Primarily for field recording in nature. Löm Usï Pro pair into a sound devices 552. Less than 10 ft. Cable.

A: This would work well. It provides 18 dB of gain to condenser mics, and the polar pattern really does not come in to play, but you're mic will seem a lot hotter.

Q: 6. What does this run on? Does it require batteries? Since it supplies you with Phantom Power, do you need to put in any batteries or where does it get the power from? How long will this last or its 24/7?

A: It passes through phantom power from the host device. it does not provide phantom power by itself. There is no power supply. This is an an in-line device.

Q: 7. Is Digiface USB, USB class compliant?

A: Yes it is: The Digiface USB has a Class Compliant mode. Like any audio interface the Digiface USB should have a data transmission to the computer as undisturbed as possible. The easiest way to guarantee this is to connect it to its own bus, which should be no big problem as most USB 2.0 interfaces are a double bus design. A check in the Device Manager can be done as follows: ¾ Connect the Digiface USB to a USB port ¾ Start the Device Manager, View set to Devices by Connection ¾ Select ACPI x86-based PC, Microsoft ACPI-Compliant System, expand PCI Bus

Q: 8. Is there any advantage to using this fethead when I already have my ntg3 connected to the nice preamps of a mixpre-d?

A: You will be able to use significantly less gain.

Q: 9. Works whit beta 87?

A: This would work with a Shure Beta87a.

Q: 10. What is the difference between Fethead Regular and Fethead filter?

A: On some microphones, a subject close up to the mic may have exaggerated bass frequencies. Although this can be desirable for some recordings, it may not always be what you want. The Fethead filter mic has a high pass (low cut) filter built in, which will cut frequencies below 220 Hz by 6 db/octave. The standard Fethead model (B&H # TRFETHEAD) will boost all frequencies evenly.