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Click on a logo in the network above to learn more about that products support for MADI

HDSP MADI Manual - PDF 512k

HDSP ADI-648 Manual - PDF 322k

With the introduction of the HDSP MADI PCI card and the ADI-648, RME brings the professional's format of choice to a wider audience. Never before has MADI been so flexible and affordable. We here at Innovative Music are sure that MADI will become the new standard for both prosumer and professionals around the world. What is MADI (AES10) you ask? Well that's a good question...After the release of RME's ADI-648 we quickly realized that there was a disparaging amount of info in any one place regarding this professional format. We hope this section of our web site will become the industries one-stop info center for the protocol. We have assembled a variety of links and MADI products for you to check out and hopefully learn more about the spec. Please stop back regularly as we will be updating this page quite often with new articles, products, implementations and links. MADI Basics (excerpt from the HDSP MADI manual) MADI, the serial Multichannel Audio Digital Interface, has been defined already in 1989 as an extension of the existing AES3 standard following several manufacturers' wish. The format also known as AES/EBU, a balanced bi-phase signal, is limited to two channels. Simply put, MADI contains 28 of those AES/EBU signals in serial, i. e. after one another, and the sample rate can still even vary by +/-12.5%. The limit which cannot be exceeded is a data rate of 100Mbit/s. Because an exact sampling frequency is used in most cases, the 64 channel mode was introduced officially in 2001. It allows for a maximum sample rate of 48 kHz + ca. 1%, corresponding to 32 channels at 96 kHz, without exceeding the maximum data rate of 100 Mbit/s. The effective data rate of the port is 125 Mbit/s due to additional coding. Older devices understand and generate only the 56 channel format. Newer devices often work in the 64 channel format, but offer still no more than 56 audio channels. The rest is being eaten up by control commands for mixer settings etc.. The ADI-648 and the HDSP MADI show that this can be done in a much better way, with an invisible transmission of 16 MIDI channels and the MADI signal still being 100%

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compatible. For the transmission of the MADI signal, proved methods known from network technology were applied. Most people know unbalanced (coaxial) cables with 75 Ohms BNC plugs, they are not expensive and easy to get. The optical interface is much more interesting due to its complete galvanic separation, but for many users it is a mystery, because very few have ever dealt with huge cabinets full of professional network technology. Therefore here are some explanations regarding 'MADI optical'. The cables used are standard in computer network technology. They are thus not at all expensive, but unfortunately not available in every computer store. The cables have an internal fibre of only 50 or 62.5 µm diameter and a coating of 125 µm. They are called network cables 62.5/125 or 50/125, the former mostly being blue and the latter mostly being orange. In most cases, they are not (!) glass fibre cables, but plastic fibre cables (POF, plastic optical fibre). The plugs used are also an industry standard and called SC. Please don't mix them up with ST connectors, which look similar to BNC connectors and are being screwed. Plugs used in the past (MIC/R) were unnecessarily big and are not being used any longer. The cables are available as a duplex variant (2 cables being glued together) or as a simplex variant (1 cable). The HDSP MADI's opto module supports both variants. The transmission uses the multimode technique which supports cable lengths of up to almost 2 km. Single mode allows for much longer distances, but it uses a completely different fibre (8 µm). By the way, due to the wave-length of the light being used (1300 nm), the optical signal is invisible to the human eye.

Sony DMX-R100 Professional 8-bus Digital Console The DMX-R100 is the ground breaking digital mixing console from Sony, the manufacturers of the legendary "Oxford" OXF-R3 digital desk used in many world-famous studios in Europe, Japan and the USA. The stunning audio performance and low group delay (just 2.5ms analogue IN - analogue OUT) have endeared the console to over 1400 users worldwide. The sales team at Total Audio are able to give expert advice on a wide range of applications, both on this console and digital mixers in general. We recommend the use of PMC monitor loudspeakers to fully appreciate the stunning sound quality offered by the DMX-R100. Tascam digital recorders such as the DA-98 offer proven performance and compatibility with the console. The console is under continuous development - the recent introduction of Version 2.11 software and MADI interfaces are just part of a long term plan for the DMX-R100 system.

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up to 96kHz sampling 56 inputs to the mix (24 analogue mic inputs as standard, 12 with i/p B, 48V & insert) 24 motorised touch sensitive input faders & PGM output fader. high quality 24 bit ADC & DACs 8 AUX return inputs

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18 bus outputs (Stereo, 8 AUX , 8 Multitrack) 6 built-in AES/EBU inputs & outputs, plus external wordclock snapshot & dynamic automation (can be linked to LTC & MTC) Large, full colour 800 x 600 LCD touch screen 4 band EQ, dynamics, HPF, LPF and delay on all inputs EQ & dynamics on all outputs Integrated digitally controlled audio patchbay Machine control (2 x Sony 9-pin, MIDI, Timecode chase) Silent operation (no fan or hard disc) M/S Decoding High Speed SHARC Digital Signal Processors (16)

DMX-R100 MADI I/O The Multichannel Audio Digital Interface, also known as AES-10 standard, allows two devices to exchange up to 56 channels of 24-bit digital audio using a single 75 Ohm BNC coaxial cable (max. recommended length 50 metres) or FDDI optical link (up to 1,000 metres depending on fibre quality) along with a separate synchronization signal (Word Clock). It is a standard interface to digital multitrack machines like the Sony PCM-3348HR Digital Tape Recorder, or suitably equipped Digital Audio Workstations such as Merging Technologies' Pyramix. Basically, the format adopts the standard AES/EBU interface and uses Time Division Multiplexing to squeeze all the channels into one normal frame.

Sony's DMBK-R109 MADI Documentation - PDF 1.9Mb www.totalaudio.co.uk/r100dotcom/dmxr100.htm

The D5 Live System The D5 Live system comes in two versions: D5 Live 56 and D5 Live 96. The control surface is identical in size and appearance on both consoles, as is the feature set, but the 56 version has 64 channels of full processing while the 96 version provides 96 channels. The D5 Live 56 comes with one remote (stage end) DiGi-rack, which contains the A/D converters and is connected to the console via optical fibre. 100m of fibre cable is provided with the system, reducing the length of copper wire between microphone and desk to, at most, a few metres. A second, local DiGi-rack sits next to the console with a further 40 external I/Os for inserts and effect sends. The D5 Live 96 comes with two stage DiGi-racks and one local rack, providing 96 inputs. A special ‘futureproof’ feature here is that a D5 Live 56 can cost-effectively be upgraded to a 96 by adding a second remote DiGi-rack and an additional DSP card in the console.

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The powerful DSP engine is shielded inside the console’s rigid steel and aluminium chassis on a slide-out tray for easy maintenance and provides every channel with full processing and full functionality at all times, so there is no variation in performance no matter how many features are in simultaneous use. The optional effects package comes with its own dedicated DSP card which slots inside the chassis. To transfer console settings and automation snapshots to another D5 Live, or to edit your console settings on a laptop PC, simply plug in the miniature USB key to a port on the front of the desk. To use the console for multitrack live recording, connect your hard disk multitrack recorder to the console via the single MADI port. On the rear is the integral dual-redundant power supply, which is both hot-swappable and auto-switching, along with the modem port for diagnostics and software updates. In the event of a power supply problem, the D5 Live will automatically switch power supplies over without any loss of audio or control status, and there’s no audio interruption, either, in the unlikely event of the console needing to be rebooted during a show. The overall design approach means the desk is extremely fast to set up and to pack away after a show. The console’s small footprint and relatively light weight make it possible for two people to lift it, although four would be more comfortable. www.digiconsoles.com/products.htm

Studer D19m Series Remote I/O Box AD/DA-Converters, Interface Digital components in a modular system - this is the extraordinary flexibility of the Studer D19m-Series put into one sentence. A wide choice of input- and output-cards can serve about any need in a professional environment. All input-cards simply feed a TDM-bus and the output-cards are fed by the TDM-bus. The TDM-bus multiplexes all inputs directly to a MADI-link. The MADI-link can be transferred to the TDM-bus where the output-cards can derive their information. The MADI-link (optical) can be more than 1000m long, depending on the quality of the cable (MADI coax for short distances only). This allows straight forward one-to-one interfacing in the first place. But the Studer D19m Series will grow with your needs: it is the input/ouput interface to many of our products

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like the Studer Route 5000, the Studer D950 and D950S digital mixing console and others more. Defined sets are available like the Studer GateWay for the Studer D827 Mk II DASH-recorder with EDR-option. The brochure-list below will give an overview of the capabilities of the Studer D19m-Series. Further cards will be introduced shortly.

The Studer D19m Series includes: • Quad remote controlled mic/line input and preamplifier card with its controller card (can be controlled directly from e.g. the Studer D950) • Quad 24 Bit A/D converter card, with or without Noise Shaping • Quad 24 Bit D/A converter card • Dual AES/EBU input card (4 channels), with or without SFC • Dual AES/EBU output card (4 channels) • MADI input card with fibre optical or coaxial interface (56 channels) • MADI output card with fibre optical or coaxial interface (56 channels) • Dual ADAT input (16 channels) • Dual ADAT output (16 channels) Studer D21m Series The Studer D21m high density audio interface system has been designed to provide the highest quality analogue, digital and signalling interconnections between external equipment and all current and future Studer DSP cores, including those serving the Vista and D950 M2 range of consoles. The system is based on a 19" 3U rack which can house up to 12 audio interface cards and one or two HD (high-density) cards. Each HD card carries up to 96 channels at sampling rates of up to 96kHz, and is connected to the DSP core by standard CAT-5 twisted twin cables. The system automatically detects newly inserted audio cards and assigns the required number of audio channels to them when the system is reconfigured, either by pressing the front panel "reconfig" button or remotely. All functions and configurations of the D21m are controllable remotely from the associated console or a workstation.

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An LED display on the front panel indicates failed or missing cards, and error messages are sent to the console over the control interface. The D21m rack provides space for two power supply units in redundant operation for critical applications. The Studer D21m Series includes: • Frame and Power Supply • HD Card for connection to the DSP core • 8 channel line out card • 8 channel line in card • 16ch in and 16ch out AES/EBU card • 16ch in and 16ch out AES/EBU card with input SRCs • 16ch in and 16ch out AES/EBU card with input and output SRCs • 4ch microphone card (fitted in pairs) • Dual ADAT input and output card (16ch in and 16ch out) • Dual TDIF input and output card (16ch in and 16ch out) • GPI Card (16 inputs and 16 outputs) • Analogue insert card • MADI card www.studer.ch/products18.htm#Studer%20D19m-series

24 and 48 Track Hard Disc Systems The basic R-1 system includes the following components and is designed for use as a 24 track recorder connecting directly to a digital console via MADI. R-1 - 24 System Includes: • Remote with Stand and Keyboard Tray • R-1 Keyboard with Trackball • Pilot Computer • Studio Hub • Audio Deck • MADI Interface • Single Software License R-1 - 48 System: Add extra Audio Deck for 48 Track version. Choose from the Following Options: • MADI to Analog Converters

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Analog to MADI Converters MADI to AES/EBU Converters AES/EBU to MADI Converters One or more 9.1GB IBM 9LZX Ultrastar Drives in Kingston Carriers • Exabyte Mammoth 20GB External Drive • Exabyte Mammoth 20GB Tape Cassette (8mm) • Expansion Bay with 1 Kingston slot and 1 Exabyte Mammoth 20GB Drive • 13.8 Flat Panel 15" XGA Monitor • SL156 Console Interface (1U rack mount) • TT007 Multiple Machine Control System (1U rack mount) • Keyboard, Screen, Trackball Extension Cable set Notes: XGA Monitor Any external XGA monitor (1024 x 768 resolution) may be purchased locally for use with the system. Drives V2.0 Software supports up to four 9GB drives per 24 tracks and an Exabyte Mammoth 20GB Drive per Audio Deck. The Euphonix FC727 Digital Audio Format Converters The Euphonix FC727 is used to connect multiple format digital audio devices together to create the highest quality conversion available. Mix a Digidesign Pro Tools session at 24/96 by connecting Pro Tools to a MADI-compatible large format console such as the Euphonix System 5—without the need for external A-to-D converters. Transfer audio between Sony 3348 and Tascam DA-88 tape machines. Or interconnect ADAT and AES/EBU devices. Any supported format can be converted to the other, and the FC727 performs the highest quality sample-rate conversion (SRC) in real-time on all channels that require it. The FC727 carries up to 56 channels of audio in both directions, while 56 channels of AES/EBU outputs are always available regardless of the formats being used. Custom DB-50 cables are available from Euphonix to connect to the proper format. The FC726 is also available, at a substantially lower cost, that includes all of the capabilities of the FC727 except the Pro Tools interface.

www.euphonix.com

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MADI Splitter / Combiner This device allows in a very efficient way signal distribution and signal combination resp. between a central audio distributing system and several peripheral stations, e. g. DAE 200 or the small mixing console Deubner RM 3200D. The digital monitoring unit DAE 200 is specifically designed for the work at modern radio-broadcast workplaces with computer-aided audio editing systems. The signals of the MADI Splitter/Combiner to the peripheral workstations are defined in the MADI format (transmitting) and in the AES/EBU format in 2-channel/stereo (receiving). It is possible to link 8 peripheral workstations. The device manages simultaneously the routing of the AES/EBU return lines in a MADI signal so that integration with the audio distribution system is possible with only one MADI interface. This way extensive cabeling can be ommitted. As the source is selected at the respective peripheral station of the workplace individually, the master control room work is reduced to the assigning of external foldback and return lines to the editing workplaces. As working with external foldback and return lines at editing workplaces is rare, the master control room is significantly relieved.

Features • integrated sample rate converter for AES/EBU return lines, thus increased safety and flexibility • up to 32 peripheral stations may be combined by one MADI signal • significant simplification of cabeling perfect integration of the operational unit Lawo DAE 200 The MADI analog/digital interface by Lawo is an universal frontend device (stagebox) designed for feeding analog audio siganals into digital audio signal processing systems. 8 preamplifier with 24-bit A/D converters are placed in a compact 1 HE frame, ca. 310 mm deep. The maximum dynamics range at over 120 dB. The preamplifiers are controlled via MADI link and their mode can be alternated between microphone (gain:0 to 70 dB) and line (gain:+20 to -20 dB). For the microphone mode a phantom circuit and a low cut filter may be set. The inputs are balanced potential-free and separated galvanically. The eight audio signals transferred by the converters are multiplexed to the transmitting path of the MADI link. The input channels occupied in the MADI signal and the control address of the stagebox are set by an externally accessable address switch. Analog inputs and outputs are mounted to a 37-pin Sub-D-socket. The stagebox works without ventilator. www.lawo.de

Format & Sample Rate Converter The Otari FS-96 is a device for converting signal formats and sample rates of digital audio signals. A total of five professional digital audio formats (ADAT, AES/EBU, SDIF- 2, TDIF-1, OPTION) are supported and 24 channels of digital audio signals can be converted simultaneously to all of the signal formats available on the FS-96, at the desired sample

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rate. In addition to the format and sample rate conversion capabilities, the FS-96 can be used as a digital signal router and the connections between the input and output channels can be changed internally without changing any physical connections.

Five Digital Audio Formats: Input signals in any of ADAT, AES/EBU, SDIF-2, TDIF-1, or MADI (option) formats can be output in all of these formats in parallel. 24-Channel Capacity and Signal Routing: The signal routing function allows the connection between input and output channels to be changed freely. 96 kHz/24-bit: The FS-96 can handle 32 kHz to 96 kHz sample rate and 16- to 24-bit quantization. The built-in sample rate converter can convert the sample rate/bit resolution of the incoming signal. Same Format Sample Rate Conversion: Whenever audio is input in a given format, the output for that same format is also available, and it can be sample rate converted to the same output format if needed. High Accuracy Clock Generator: Signals from consumer or semi-professional audio/video equipment can be regenerated as stabler, high-accuracy digital signals. Setup and Routing Memory: Up to ten machine setups and signal routing can be memorized. The combinations of these settings can be preset in dedicated key buttons for easy recall. • Signal Synchronization: The output signal's reference clock can be selected from input signal, internal clock, and external word clock. • Sample Accuracy Synchronization: The word clock sync output can synchronize multiple FS-96 units at sample accuracy. • Bi-directional Conversion between TDIF and AES/EBU • Status Data Editing: Status data in digital audio signals can be edited if necessary. • Expandability: A rear panel slot for an optional board is provided to support coming digital signal formats. Currently, a MADI interface module is available. • LCD Menu Driven Setup Operation: All of the machine setups can be done via the front panel LCD and buttons. • 19" Rack Mountable: 19-inch rack mount adapters are included. The unit occupies only a 2U rack space. • Universal Voltage Power Supply www.otari.com

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MY16 MADI-64 Interface - 96kHz (for Yamaha DM2000, 02R96) MADI-Interface for Yamaha DM2000 and 02R96. The MADI-Interface enables you to connect you the DM2000 and 02R96 with other MADI-devices. You can use the BNC or fiber-optic connector. The data-transfer works bidirectional.

www.audio-service.com/AS/Artikel.nsf/show/22680D624BF52D3EC1256C310055CF90

Modular I/O System 96 The all-new Modular I/O System 96 from AMS Neve delivers definitive Neve quality audio at 24 bit, 96kHz or 48kHz/44.1kHz resolution from a precision engineered package to ensure that the critical first stage of audio acquisition is beyond reproach. Each compact 4U MIOS rack houses up to 6 hot-pluggable modules selected from a range which supports a variety of analogue and digital I/O formats, and connects these to the console using MADI, the industry standard multi-channel audio connection. Silent, natural cooling is used and dual redundant supplies are incorporated, removable from the front of the rack. The racks themselves are loaded with features. The first MIOS module released is a Quad Microphone

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Amplifier. Other modules due for release this year include line level ADC and DAC modules. For further information about the AMS Neve MIOS 96 please email [email protected].

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