RME M-32 AD

Product overview

The RME M-32 AD is a 32-channel high-end AD converter in a 19-inch, 2U enclosure: 32 balanced analog line inputs converted to MADI and ADAT in reference quality, up to 192 kHz, with analog limiters and three hardware reference levels up to +24 dBu.

A fully symmetrical analog design with current converter technology and RME's SteadyClock reaches a real-world signal-to-noise ratio of 116 dBA on all channels. The analog limiter, conceived for studio, stage and broadcast, handles input overloads of up to 17 dB without audible distortion (maximum input level +30 dBu). The inputs are on 6.3 mm TRS jacks and 25-pin D-sub connectors; the converted signals leave on optical and coaxial MADI at the same time and on four ADAT outputs.

Key features

• 32 servo-balanced line inputs on 6.3 mm TRS and 4 x 25-pin D-sub (internally connected)
• Three hardware reference levels: +24, +19 and +13 dBu at 0 dBFS
• Analog limiter: maximum unclipped input +30 dBu, LED per channel
• MADI I/O optical and coaxial: 64 ch at 48 kHz, 32 at 96 kHz, 16 at 192 kHz
• 4 x ADAT out (S/MUX up to 192 kHz) and ADAT sync input
• 32 five-LED level meters with peak hold
• MADI thru-mode and Automatic Delay Compensation for sample-aligned stacking
• SteadyClock, SyncCheck and Intelligent Clock Control; word clock I/O
• Remote control via MIDI and MIDI over MADI; all settings stored
• Temperature-controlled low-noise fan

Hardware reference levels

The level is switched in the analog domain with high-quality electronic switches, so signal-to-noise ratio and distortion stay at their best in every setting. +24 dBu at 0 dBFS gives 20 dB headroom over +4 dBu and follows the SMPTE recommendation; +19 dBu gives 15 dB and +13 dBu 9 dB.

Cascading on one MADI line

The MADI input is a pass-through input: the converter replaces its own channel block and passes the rest unchanged. Up to 48 kHz two M-32 AD or four M-16 AD share one MADI line. Each unit's defined delay is compensated automatically by the next, so all channels stay sample-aligned.

SteadyClock and remote control

SteadyClock makes the conversion independent of the quality of external clocks. Intelligent Clock Control shows every clock state and keeps the last valid sample rate if the external source fails. The complete unit can be monitored and controlled via MIDI or MIDI over MADI, each unit with its own ID, using RME's free MIDI Remote software for Mac and PC.

In the box

• RME M-32 AD
• Power cord
• Manual
• RME driver CD
• Optical cable, 2 m

RME M-32 AD: frequently asked questions

Which digital formats does it support?

MADI (optical and coaxial outputs at the same time) and four ADAT optical outputs; the ADAT input serves only as an optional clock source.

Can I use TRS and D-sub at the same time?

No. The TRS jacks and D-sub connectors are internally connected, so use one or the other for each channel.

How many units can share one MADI line?

Up to 64 channels at 48 kHz: two 32-channel or four 16-channel M-series converters. At 96 kHz 32 channels, at 192 kHz 16 channels.

Where can I buy the RME M-32 AD in India?

The RME M-32 AD is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: 32 analog channels into a computer over MADI

Record a console, preamps or outboard on many channels with an RME HDSPe MADI card.

Connections

Setup

1. Connect the analog sources and set ANALOG INPUT to their level.
2. Connect the card's MADI output to the converter's MADI input and vice versa.
3. Set the card as clock master and the converter's CLOCK to MADI.
4. Choose the MADI OUT channel block and record.

Tip: Raise the source until the red OVR LEDs flash on the loudest peaks, then back off slightly.

Workflow 2: ADAT recording with an RME HDSPe RayDAT

Transfer 32 channels at 48 kHz with standard optical ADAT cables.

Connections

Setup

1. Connect the four ADAT outputs to the card's ADAT inputs.
2. Use ADAT SYNC IN or word clock to lock to the card.
3. Set the converter's CLOCK to ADAT or WCK.
4. At 96 kHz, 16 channels travel via S/MUX.

Workflow 3: Cascading several converters on one MADI line

Build 32, 48 or 64-channel systems on a single MADI cable.

Connections

Setup

1. Connect the units serially via MADI.
2. Set a different MADI OUT block on each unit.
3. Run all units in clock slave mode from the recorder or first unit.
4. Automatic Delay Compensation keeps all channels sample-aligned.

Workflow 4: Stage to control room over fibre

Convert stage signals and send them over long distances.

Connections

Setup

1. Place the converter at the stage.
2. Run optical MADI to the control room.
3. Enable the limiter for protection against overloads.
4. Lock the keys against accidental changes.

Workflow 5: Broadcast and studio levels

Match the converter to SMPTE or other studio levels.

Connections

Setup

1. Choose +24 dBu for SMPTE alignment with 20 dB headroom.
2. Use +19 or +13 dBu for hotter conversion of lower-level sources.
3. Check levels on the LED meters.
4. Store settings: they are kept at power-off.

Workflow 6: Remote control via MIDI

Monitor and set several converters from one computer.

Connections

Setup

1. Set REMOTE to MIDI or MADI.
2. Give each unit its own ID in MIDI Remote.
3. Set fan mode and word clock out options from the software.
4. Read the complete device status, including all LEDs.