PRESONUS DIGIMAX FS (8-chan mic pre with ADAT/analog I/O) -- NOW WITH CONCLUSIONS!

[Anderton]

First rule of a Pro Review: Don't schedule one to start on Halloween when you have a pre-teen daughter about to have her friends over for a Halloween party.

I like to start a Pro Review with pictures that you don't find in brochures and manufacturer web sites: The insides, the construction, the parts that are used, and so on. However, as I watched the natural light slip away into darkness and still hadn't finished putting up the Halloween decorations, I realized okay...the photos are going to have to wait until tomorrow.

So what's the DigiMax FS? The PreSonus web site files it under "Preamp," which is accurate up to a point. It's actually eight preamps that feed either an ADAT out (standard or SMUX to accommodate sample rates above 48kHz) or eight analog direct outs. There are also analog inserts for the eight ins. However, there's also an ADAT input that terminates in eight DAC outs.

While waiting to do the photos, though, as is also customary with Pro Reviews, I like to refer to where you can get background, specs, and the like. That way we don't have to re-invent the wheel here, and can concentrate on the user experience.

There are several pieces of useful information at http://www.presonus.com, including an overview (http://www.presonus.com/digimax_fs.html), a video (http://www.presonus.com/digimax_fs-video.html) that covers the basic philosophy behind the unit, a typical hookup diagram (http://www.presonus.com/digimax_fs-hookup.html), and a complete set of specifications (http://www.presonus.com/digimax_fs-specs.html). You can also download the user manual (http://www.presonus.com/pdf/digimax_fs_manualv1.pdf) if you want to get a pretty good idea of what the unit's about.

[Anderton]

Companies have different reasons for wanting to do Pro Reviews - from something as simple as showing they stand behind their product enough to subject it to the scrutiny of the HC community, to gathering feedback they can incorporate in future products. But I'm assuming that PreSonus wants one because of the application-oriented nature of the Pro Review process.

The DigiMAX FS is clearly more than a simple preamp, and is intended as an "expander unit" for ADAT-compatible mixers and interfaces. (Of course, PreSonus would want you to use it with their FireStudio, but as we'll see, it's well-suited to many other pieces of gear.) They wanted to make sure, for example, that I had sufficient gear sitting around with ADAT I/O and work clock, as well as the ability to handle 44.1kHz to 96kHz, so I could test out the various options. As it so happens, I sure do - and in fact, I'm very interested in reviewing the DigiMAX FS because it might be a good solution to some limitations I've experienced with otherwise very useful gear.

[Anderton]

I just wrote a column for the October 2006 issue of Keyboard (http://www.keyboardmag.com) magazine about simplifying your life in the studio, and one aspect of that was advising that people use multi-input interfaces. Here's what I said:

You do need an audio interface with multiple inputs. "I'm a solo performer, so I only need a couple inputs." Wrong! You have a condenser and a dynamic mic, right? And at least a couple of keyboards . . . and if one of them has multiple outputs, that's at least a half dozen outs, all desperately seeking inputs. You don't want to re-patch; it's great to have everything ready to go, so all you need to do is record-enable a track to make music. Incidentally, this is also a raison d'être for the new generation of Firewire-compatible mixers: Mixers aren't just about mixing, but about routing.

The two main interfaces I use for my computer are the Creamware SCOPE system and E-Mu 1820m interface. Both have ADAT I/O (the SCOPE has two sets for 16 channels, the 1820m one set), but the complement of mic pres is only two for the 1820m, and none for the SCOPE. Although the SCOPE card has a breakout cable with SPDIF, analog in/out, MIDI, and SPDIF, all I really use are the ADAT connections in conjunction with my Panasonic DA7 mixer, and of course, the MIDI connections.

But the DA7 doesn't handle sample rates over 48kHz, and the DigiMAX FS seems like a good way to add significant "input power" to the SCOPE system (which handles 88.2/96kHz sample rates) independently of the DA7. Similarly, although the 1820m has much more accessibly I/O thanks to its "dock" (breakout box), again, if you want to have multiple mics set up the box alone is not enough.

Both the DA7 and the 1820m also have word clock options, lending themselves to further experimentation with the DigiMAX FS.

So that's basically the direction I'm going to take: Checking out the DigiMAX FS with these two interfaces, as well as using it to expand the number of analog aux buses in the DA7 (I'm a fan of using it with external analog gear...more on this as the review develops).

That's enough for tonight. I'll be back tomorrow, camera in hand, and take the sucker apart. (Note to PreSonus in case anyone's reading this: No, I'm not going to give it the same "drop test" I gave the Inspire 1394, so no worries there!)

[Anderton]

Okay, let’s look at the front panel. I have mixed feelings about all the inputs being on the front; it’s of course very convenient (particularly for the two instrument inputs), but you’d probably want to put the DigiMAX FS pretty low in your rack so that the cables don’t trail in front of other units. The other possibility would be to leave a single space above it, and feed the cables in over the top of DigiMAX FS, and then plug them in to the front.

In any event, the point is moot because as we’ll see, the rear panel is pretty packed and there wouldn’t be room for paralleled input connectors on the output anyway. The only option would be to have put some connectors on a breakout cable, which I would definitely not prefer.

[Anderton]

The Gain controls are physically offset, which makes it easy to adjust one without brushing against another one. The feel of the knobs is worth noting: They feel very smooth, with a just the right amount of resistance, and have click detents.

Note that the gain settings are screened separately for the line and mic levels – a nice touch. Mic gain ranges from 0 to 60dB, while line covers –20 to +20dB. Also note that there’s a clip indicator to the lower right of each knob.

[Anderton]

The sync section is very simple: You have one button to cycle through the various sample rates (44.1, 48, 88.2, 96kHz) and another button to cycle through internal sync, external sync to work clock, and external sync to ADAT.

[Anderton]

The first two inputs are mic/instrument inputs; and by the way, I’m a big fan of Combi connectors that do XLR and 1/4” J. Anyway, the instrument ins are spec’ed at 1Megohm (the manual says “1 MegaOhm,” but we’ll let that slide!). I consider that to be pretty much the ideal input impedance for guitars with standard, passive pickups.

Also note the +48V phantom power switches. The good news: They really do put out +48V. The bad news: You can only enable phantom power for two groups of inputs, 1-4 or 5-8, not for individual inputs. So if you use one instrument input for, say, guitar, then you’re down to have four mic ins with phantom power (5-8) – not six. While this probably wouldn’t matter much in the studio, for live use – where even eight ins might not be enough – you don’t want to have to write off any more inputs than needed.

Of course, you could put other mics through an external mic pre and use inputs 2-4 as line inputs, but that kind of defeats the purpose of having nice mic pres in the DigiMAX FS.

[Anderton]

I thought you might like seeing a shot of the back of the input connectors. I like their “chunkiness,” and the fact that those big barrels keep out dust and other contaminants. The downside is that if you do ever need to clean the contacts, it’s more difficult than having exposed jacks. Still, it’s not a big deal as you can just put contact cleaner on a plug, and twist it around a few times…or if you’re brave, spray a little bit right into the 1/4” input hole, then plug in a plug and twist it.

[Anderton]

I like to take things apart and photograph the innards, but the DigiMAX FS makes that pretty difficult. There are two screws on the top and bottom, and once removed, you can take off the side rack ear panels, as well as the front “cosmetic” panel. Click on the attachment to see the DigiMAX FS with the front and side panels removed.

However, this still leaves an upper and lower shielding panel in place. To remove this, you would presumably need to unscrew the lock nuts from 24 1/4” jacks, 2 BNC connectors, and a wall wart connector. Now, I love you guys and all that, but that’s a lot of work! However, if y’all really want to see some serious inside views, let me know and I’ll deconstruct the unit further.

[Anderton]

Even though I couldn’t take the unit apart completely, this shot shows the insides behind the front panel, so you can see the pots and pushbutton switches used for sample rate selection. Interestingly, the pots are 10k – I’m not sure how they’re configured in the circuit, but I do know from my analog design days that 10k from input to ground is pretty much the sweet spot for bipolar integrated circuit amplifiers in terms of obtaining the lowest noise. Yeah, that’s kinda trivial, but it might give some clues about the circuit design.

If someone from PreSonus is listening, is the schematic for this posted anywhere online? I’m curious…

[Anderton]

As you’ll see from the photo, there are two sets of direct outs: Analog direct outs from the inputs, and DAC outputs that carry the signal from the ADAT light pipe input.

The analog inputs also terminate in an ADAT out (more on this later), but the direct outs have their uses. One that comes to mind is sending them to a separate recorder as a safety. Another is that if you have a recording setup or interface with an ADAT in and line ins, you could feed the “main” preamp signal in digitally through the recorder’s ADAT input, but also feed the direct ins to the line inputs, set for a lower level. Then, if distortion occurs with the main feed, you’d have an alternate set of signals at a lower level for “backup” that you could gain-correct and paste over the distorted section.

[Anderton]

There are inserts for each of the eight ins that occur prior to A/D conversion, so you can patch in compression, effects, limiters, whatever. These seem to be oriented toward line level signals, what with a 51 Ohm output Z and 10k input Z, but you could probably put some guitar pedals in there if they had enough headroom. Note that unlike the TRS inputs, the send and receive connections are unbalanced, and appear on the tip and ring of the insert jack with a common ground.

[Anderton]

You’ll note from the photo that there are two ADAT connectors for the input, and two for the output. Why do you need two for an 8-channel unit, anyway? Because when the ADAT optical interface was introduced, it could accommodate eight, 24-bit data streams at 44.1 or 48kHz – but not higher sample rates. To deal with higher sample rates, various companies came up with multiplexing schemes, and SMUX is a common protocol that basically splits the data stream over two connectors. So, when operating at twice the sample rate, each light pipe line carries half of the samples. This allows for 88.2 and 96kHz sample rates.

At lower sample rights, you use only one of the connectors (the one marked 1-8). At higher sample rates, you use both. Of course, whatever you’re feeding into needs to accommodate the SMUX protocol as well. For example, my Creamware interface goes up to 96kHz and has two ADATs in. I don’t know if it will be possible to feed in the two ADAT lines from the DigiMAX FS and do 96kHz sample rates, but it’s something I’ll test (unless someone from PreSonus reads this and tells me it won’t work and I’m wasting my time).

[Anderton]

The DigiMAX FS has word clock in and out, and is meant to be daisy-chained with other systems. PreSonus makes a big deal of their “JetPLL” technology, which supposedly gives extremely low jitter. I’m assuming that might make some sonic differences with the conversion process; as to using the DigiMAX FS as a master clock, I’m a little less clear as to how that process works…when it’s a master clock, do the slave clocks re-clock internally based on what they receive, or follow the master clock exactly? Hey, I don’t know everything…

In any event, you can terminate the input to 75 Ohms if the DigiMAX FS is the last device in the chain.

[Anderton]

Yup, it’s made in China – check the label next to the wall wart adapter input. And speaking of the wall wart, it’s actually of the “line lump” variety, but of the same ilk as typical laptop adapters. In other words, one end plugs into the DigiMAX FS, and the other end has a non-captive line cord that plugs into the wall. Presumably, this is so that when shipping to non-US destinations, all you’d need is a different line cord going to the wall to accommodate different physical AC connectors. The adapter itself handles 100-240V at 50/60Hz, and runs at about 45 Watts.

[Anderton]

This seems like a good stopping point, as we’ve covered the major gozindas and gozoutas, as well as a bit of the physical construction. The next step will be to feed the ADAT out into something with an ADAT in, crank up those mic pres, and see what they sound like.

And as always, remember this is an interactive review format. Got questions? Got answers? Care to illuminate us all about how the master clock thing affects slave units? Is there a a schematic online somewhere? Stay tuned!

[Mike Martin]

Originally posted by Anderton
The DigiMAX FS has word clock in and out, and is meant to be daisy-chained with other systems. PreSonus makes a big deal of their “JetPLL” technology, which supposedly gives extremely low jitter. I’m assuming that might make some sonic differences with the conversion process; as to using the DigiMAX FS as a master clock, I’m a little less clear as to how that process works…when it’s a master clock, do the slave clocks re-clock internally based on what they receive, or follow the master clock exactly? Hey, I don’t know everything…


Craig,

I won't attempt to pretend to know everything on this subject but there are a few things I know. The JetPPL in DigiMAX FS is developed by TC Applied Technologies, a division of TC Electronic. Its the same technology found in the DICE II chip. This chip is used in the TC Electronic's Konnekt 24D interface as well as Presonus's new FireStudio. I'm not certain that this product has the DICE II chip, since it doesn't have 1394. I suspect is just has a component of it for JET (Jitter Elimination Technology).

In the case of the Konnekt 24D, I've been told that any incoming digital source will be "corrected" to have the same jitter spec as the Konnekt regardless of which of the units is the master clock. In our own tests, the jitter spec of the Konnekt 24D and likewise the DigiMAX FS will be very hard to beat even compared against dedicated clocking products.

Mike Martin
TC|US

[Anderton]

<<In the case of the Konnekt 24D, I've been told that any incoming digital source will be "corrected" to have the same jitter spec as the Konnekt regardless of which of the units is the master clock.>>

That's a neat trick. Just to make sure I understand...so you don't have to use the DigiMAX FS or Konnekt 24D as a master to gain the benefits of the JetPLL technology?

<<In our own tests, the jitter spec of the Konnekt 24D and likewise the DigiMAX FS will be very hard to beat even compared against dedicated clocking products.>>

BTW I think it is extremely cool when a "competitor" paticipates in a Pro Review in a neutral, helpful manner. And yes, I'm looking forward to starting the Konnekt 24D Pro Review next week :)

Now excuse me while I get out my ADAT cables and set up my mixer for testing with the DigiMAX FS....

[Mike Martin]

Originally posted by Anderton
That's a neat trick. Just to make sure I understand...so you don't have to use the DigiMAX FS or Konnekt 24D as a master to gain the benefits of the JetPLL technology?

That is correct

Originally posted by Anderton
BTW I think it is extremely cool when a "competitor" paticipates in a Pro Review in a neutral, helpful manner. And yes, I'm looking forward to starting the Konnekt 24D Pro Review next week :)

Presonus makes great stuff! I've known those guys since my Kurzweil days. Plus the DigiMAX FS would make a great expansion for the Konnekt 24D. :thu:

[jonmatifa]

Even though I couldn’t take the unit apart completely, this shot shows the insides behind the front panel,

I think it would be interesting to see what's going on there. I have been thinking about cracking open my Firepod (now that they're not quite as expensive to replace) to see the possibility of upgrading opamps, but of course, I should probably talk to Rick Naqvi first... does he hang around these forums?

I'm interested to hear how the preamps stack up against the Firepods... apparently, the Firestudio sounds significantly better, which would be impressive for a sub $100-per-channel pre amp. Obviously, the improvement in AD/DA is of interest as well.

[Anderton]

<<I think it would be interesting to see what's going on there.>>

That's one vote. If I get a dozen votes, I'll get out the nutdriver and camera!

<<I have been thinking about cracking open my Firepod (now that they're not quite as expensive to replace) to see the possibility of upgrading opamps, but of course, I should probably talk to Rick Naqvi first... does he hang around these forums?>>

He posted a lot in the Inspire 1394 thread, and was very helpful I might add...maybe he'll put in an appearance here when he gets a chance.

[Anderton]

<<Plus the DigiMAX FS would make a great expansion for the Konnekt 24D. >>

One more thing to put on the "test with" list!

[ricknaqvi]

I have been thinking about cracking open my Firepod (now that they're not quite as expensive to replace) to see the possibility of upgrading opamps, but of course, I should probably talk to Rick Naqvi first... does he hang around these forums?

Upgrading opamps on the Firepod will be a bit more challenging than on our transformer balanced pres (Eureka, MP20, M80, VXP) because the opamps on the Firepod are not socketed. However, that challenge hasn't stopped some from trying....

However, since this ProReview is on the Digimax FS, we should probably let Craig do his thing. Feel free to email me if you have any other questions relating to your Firepod.....

Carry on Craig!

[Anderton]

I figured I'd test out the ADAT connections next. So, I hooked up a light pipe cable from the DigiMAX FS ADAT out 1-8 (not the 96kHz SMUX out) to the E-Mu 1820m ADAT in, and the E-Mu 1820m ADAT out to the DigiMAX FS ADAT 1-8 in. So far so good.

I wanted to sync the 1820 from the DigiMAX FS clock at 44.1kHz, so I just hit the DigiMAX FS internal clock button until the 44.1kHz light came on.

Next up: Setting up the 1820m. I called up the PatchMix template for 48kHz ADAT transfer, which opens up four stereo ADAT strips for the eight tracks, and also four stereo strips for ASIO for good measure. I set the PatchMix DSP external source to ADAT, which seemed like the right thing to do :)

Then I booted up Sonar 6, and did the proper input enabling routine to recognize the signal coming in from ADAT channels 1/2. Success! The mic sound came through clean and clear.

[Anderton]

I also tried running off the 1820m's internal clock, and synching the DigiMAX FS to it. Again, the DigiMAX FS operation was obvious: When you hit the External Sync button, it's either unlit (which means that internal sync is on, or with successive presses, it glows red (ADAT sync) or blue (word clock sync). I also set the PatchMix DSP's clock to internal sync.

I was pleasantly surprised by the fact that switching sample rates around didn't produce horrible pops or clicking sounds. What's up with that? There was something beneficial happening somewhere, because Sonar's input channel would mute as soon as the sample rate changed, and wouldn't carry signal again until I re-enabled direct monitoring. Does the 1820 mute when it doesn't see a clock, maybe? That seems unlikely, because I assume it would just switch over to its internal clock. Or does Sonar lose direct monitoring when its clock goes away? I don't know if this was the result of conscious thought or just a happy accident, but it was nice to know that if I forgot to down down the monitors before changing sample rates, my ears (and monitor) would survive.

So, could I hear a difference between running off the 1820's clock and the DigiMAX FS's clock? Well, doing an A-B comparison just doesn't hack it because of the time required to switch over from one mode to another, and there was no hugely obvious difference. So, I think I'll record a track with the first part done with the 1820's internal clock, and the second part synching off the DigiMAX FS clock. Stay tuned, I'll be back in a couple of minutes...

[Anderton]

I recorded two different takes, but really, there wasn't any significant difference using a single mic. Perhaps complex material would show off any differences. Or, it just may be that the 1820m has a pretty stable clock anyway.

So, you might ask, why didn't I set up rigorous test conditions? Because if the difference is that subtle, it's time to move on to other things (like testing with program material or whatever).

[Anderton]

Now, let me make it clear that I believe there are basically three types of mic pres in this world:

* Cheapo pres. This is what you find in budget gear. They tend to be somewhat harsher and don't feel as "flat," but even cheap pres aren't all that awful these days. We won't even consider the pres you find in consumer sound cards and such.

* Middle-class "designer" pres. These are what you find in better quality mid-class gear, like the Mackie Onyx preamps, those in the 1820m, and the PreSonus. These are basically preamps that people would have killed for back in the 70s, when for this kind of price you usually ended up buying a white noise generator.

* Big-bucks "designer" pres. A good frame of reference here is the PreSonus ADL 600, or products from Manley, Demeter, etc. You don't just buy these because they're accurate, you buy them because they have a certain "character" that enhances the source.

So I recorded two tracks, one going through the DigiMAX FS preamps, and one going through the E-Mu 1820m preamps. Remember that the 1820 gets its "M" designation from having better quality pres than the regular 1820. I also used the PatchMix DSP application to listen to just the 1820 mic pre and the DigiMAX FS mic pre, by balancing levels and closely as possible, and

This time, I definitely noticed a difference. The 1820m pre was more "midrangy" whereas the DigiMAX FS seemed more "balanced" over the frequency range. However, my sense is that this had much more to with how the dynamic mic interacted with the front end in terms of impedance, because a tube condenser mic didn't exhibit the same kind of difference. Once again, this drives home the point that it's the synergy among various pieces of gear that make a "sound," not a particular piece of gear.

Having said that, though, the fact is that the DigiMAX FS has eight pres vs. the two in the 1820m or two in the Onyx Satellite (which I used as a comparison). The fact that they sound very "honest," and balanced across the spectrum, is pretty cool given the price. Bottom line: You get eight very fine mic pres in the DigiMAX FS that I would file under the "middle class designer pre" category...actually, maybe even upper middle class.

Just for kicks, though, I think I'll use an averaging, peak-holding analyzer to see if any visual differences show up between the two tracks. Excuse me for a few minutes...I'll be back.

[Anderton]

Mission accomplished...download the attachment to see the two spectrum analysis plots.

I used the new Analyzer plug-ins in Sonar 6 and played the two tracks using the "max" setting until the settings stabilized into what you see here.

The top image is of the 1820m, and the bottom image, of the DigiMAX FS. Interestingly, it shows that my ears weren't lying :) Remember, each horizontal line represents 10dB, so even a small difference in the graph translates into several dB.

Between 80 and 160Hz, the rolloff on the DigiMAX FS is clearly gentler, accounting for the fuller sound in the bass range. In the midrange, you can see that the 1820 dips a bit more between 640Hz and 1.3kHz, but has more energy between 2.6 and 5.1kHz. This probably accounts for the "midrangey" effect I heard, which reminds me of the kind of sound I associate with a transformer (although as far as I know there's no transformer in there).

To summarize, I'd say that both are very "clean," so I'm assuming that comes from using quality converters and preamps (the 1820m uses TFPro preamps). The timbral difference I'd chalk up to different loading of the dynamic mic; the input Z on the DigiMAX FS is listed at 1.6k, whereas on the 1820m, it's 1.5k. Can that make a difference? Probably, given the subtlety of the tonal difference...i was only sure of its existence when I could do a direct, A-B comparison.

As to which is "better," I'd use the FS preamps for when I wanted an accurate vocal quality, but the 1820m preamps when I needed the vocal to cut a bit more. Or really, just use a little midrange boost on the FS when I wanted to sound like the 1820m, and a little bass boost and a slight dip at 1.3kz if I wanted the 1820m to sound more like the DigiMAX FS!

Anyway, the bottom line is the limiting factor in a DigiMAX FS-oriented system will most definitely not be the mic pres. They're clean, quiet, and faithful to the signal source.

[kyunghwee]

As a current owner of CreamWare SCOPE system, I'm lacking mic pre's and have been looking for one for some time now. :eek:

I would be very interested in finding out how DIGIMAX FS interacts with SCOPE system via ADAT lightpipe interface, both @ 44.1kHz and @ 96kHz SMUX.
Also, I wonder which one would work better as the clock source. :confused:

Looking forward to a wonderful review! :thu:

[Anderton]

<<As a current owner of CreamWare SCOPE system, I'm lacking mic pre's and have been looking for one for some time now.

I would be very interested in finding out how DIGIMAX FS interacts with SCOPE system via ADAT lightpipe interface, both @ 44.1kHz and @ 96kHz SMUX.>>

As you may or may not know, I'm a huge Creamware fan. My next test is going to be expanding a digital mixer for extra aux outs, and then I'll be checking out how it works with the SCOPE system. Stay tuned...

BTW are you running 4.0 or 4.5 with your Creamware system?

[kyunghwee]

I've been hooked on CreamWare system since they introduced Pulsar in 98/99...can't remember exactly what year, hehehe.

I started out with the humble Pulsar I Plus then eventually ended up with 23 DSP system with A16 Ultra box. :D I'm on SFP 4.5 BTW.

I'd assume the digital mixer in this test drive is going to be DA7. I'll have to look for your review of CreamWare stuff to see if there are any other options for adding mic pre's to the system.

Some of those digital mixers nowadays don't seem too far out of range either considering they also provide nice control surface.

But anyway, I don't want to derail your review anymore then I already have so I'll just shut up and watch the master at work. ;)

[Anderton]

<< I'd assume the digital mixer in this test drive is going to be DA7. I'll have to look for your review of CreamWare stuff to see if there are any other options for adding mic pre's to the system.>>

The way I used to add mic pres to the Creamware system was indeed by feeding the DA7 ADAT outs to the Creamware ADAT ins. I also tried using a mic pre directly into the analog ins, but that didn't sound as good.

The DigiMAX FS seems well-suited to the task. Although (as you mentioned) it's lacking a mixer's control surface, these days you might just be better off getting something like a Mackie control anyway.

[Anderton]

Taking a cue from Mike Martin's comment, and with the TC Electronic Konnekt 24D sitting in front of me, I figured I'd see how the DigiMAX FS works as an "expander module" for the Konnekt 24D. The K24D has two mic ins, so being able to add another 8 could definitely be useful for many recording situations. (I will also be posting some of these comments in the Konnekt 24D Pro Review thread, as it will be of interest to those readers as well.)

I hooked up an ADAT light pipe connector from the DigiMAX FS optical out 1-8 to the Konnekt 24D optical in, but got little warning exclamation marks for each channel in the TC mixer panel. This is because there are actually two sync settings in the K24D control panel, one when it's working in stand-alone mode, the other for when it's part of a system (which of course is the case when using it with the DigiMAX FS). I wanted to try both synching the DigiMAX FS to the K24D and vice-versa, so I scooted over to the System Settings page to edit the system clock settings.

I set the Sync Source to ADAT, matched the sample rates, and all was well. I wanted to see what would happen if I deliberately misset the DigiMAX FS, so I changed its sample rates and also set it to external clock. In the latter case, the DigiMAX FS's four sample LEDs "chase" so it's kind of hard to miss that there's a problem. At the K24D end of things, the "External Lock" status turns red and says "No Reference" if you either change the sync relationship or sample rate at the DigiMAX FS.

I then set the K24D sync source to "Internal" without changing the DigiMAX FS to "External sync." A warning symbol (exclamation mark) showed up next to the ADAT inputs in the K24D ADAT channels, but audio still made it from the DigiMAX FS to the K24D, showed up in the meters, and sounded just fine. I must admit this mystified me; could it be that because both use the JetPLL technology that the clocks were so close they appeared to be synched, even if they weren't? And that if I waited long enough, eventually there would be enough drift to create a pop or other artifact? Maybe someone from PreSonus or TC could weigh on in this, because it always seems strange when something works when it supposedly shouldn't be working.

I then set the DigiMAX FS to External ADAT sync. The little warnings went away, and all was happy in sync-land. Still, I'm curious how I could get away with the mic sounding just fine going into the Konnekt 24D even though in theory, there was a sync problem and the K24D put up a clear graphic warning that things weren't as they should be.

Another surprise is that doing all these nasty clock things produced no clicks, pops, or "tearing" in the sound. I'm not sure if the K24D or the DigiMAX FS gets the credit for being well-behaved, but in case, it's nice to know I could be really careless with these settings and not have to worry about blowing out my eardrums or monitors.

[Anderton]

I figured while I was here, I'd do another comparison between the FS mics pres and those in the Konnekt 24D. I used the same basic procedure as when comparing to the E-Mu 1820m (see previous post). I did note that the K24D's control panel had the Fabrik C channel strip enabled in the input I was using, so I made sure that I turned it off before proceeding.

On playback, unlike with the 1820m, it was very hard to pick out any differences whatsoever. Click on the attachment to see both signals run through Sonar 6's Analyst plug-in. The upper curve is the DigiMAX FS; the lower curve, the Konnekt 24D. Before looking at the graphs, I thought I might have heard a bit more fullness with the K24D, but wasn't at all sure if what I was hearing was "real" or not. As you can see from the curve, there is just a slightly higher average response in the 40-80Hz range in the K24D, but that could easily be due to interaction between the mic and input rather than anything inherent in the preamps.

Given that both E-Mu and TC really tout their mic preamps as being something special, and only have two of them in their interfaces, the DigiMAX FS's eight mic pres certainly hold their own against the K24D -- the similarity between the two curves speaks for itself -- and seem slightly more "accurate" than the 1820m pres. Granted, we're not comparing the DigiMAX FS pres to some high-end audiophile box like the ADL 600, but as far as I'm concerned, no one need worry about the accuracy or quality of what they're buying into with the DigiMAX FS. They're about as good as you're going to get for the money.

[Anderton]

So far, I must say that this is one of the more uneventful Pro Reviews I've done -- and that's a good thing! The DigiMAX FS works as expected, syncs cleanly with several sources, behaves when I set things wrong just to see what will happen, has really fine mic pres, doesn't run hot, and certainly appears to have a sturdy build quality.

Based on what I've seen so far, I expect the "Digital Mixer Expansion Test" will go smoothly. That will also give me a chance to check out work clock sync with the DA7. If there are going to be any fireworks, I expect it will be checking out the SMUX function with the Creamware card, especially as I've never tried using SMUX ADAT connections so it's going to be a learning experience!

Meanwhile, it took a little longer to set up for that test than I expected, so I won't be getting to the DA7 test tonight. But there's always tomorrow...

As always, this is an open forum so feel free to ask comments and make comments. And don't forget that if you're a registered user, you can check the "EMail Notification" box at the bottom of this page so you can get an email whenever someone replies in the thread.

[Anderton]

What with the interest about using the DigiMAX FS with Creamware (or other ADAT-interfaceable gear), I decided to postpone the DA7 test and dive into SMUX land. It was not without some trepidation that I approached the ADAT SMUX capabilities, because I'd never attempted it before, and besides, the only piece of gear in my studio with SMUX compatibility is my Creamware SCOPE system. So if the DigiMAX FS didn't work with that, it was either going to be a very short evening -- or a very long one, as I beat my head against the wall trying to figure out what was wrong. But SCOPE has always been very trustworthy for me, and so far the DigiMAX FS had passed all its tests with flying colors, so...

I started by setting up a suitable routing in the SCOPE routing window. I wanted to use SCOPE as the interface for Sonar, so I grabbed two SMUX sources in SCOPE, and fed their outs to 8 ASIO destinations that could show up as inputs for recording within Sonar. To keep things simple, I set up a stereo ASIO source to feed the SCOPE analog output. Click on the attachment to see the SCOPE routing window and system settings. I fed the SCOPE analog output to the TC Konnekt 24D, as it's set up for another Pro Review that I'm doing. It basically served as a headphone amp.

In the SCOPE Samplerate Settings window, note that the system was slaving to the DigiMAX FS, with a sample rate of 96kHz. The sync source was the SMUX A input. For latency (not shown), I chose 3ms at 96kHz.

In the screen shot, you'll also note I set up a SCOPE MicroMixer module. I split the outs from the SMUX sources to the MicroMixer, which basically served as a meter bridge so I could verify what signals were coming in, and on what channels. Note that channel 7's meter indicates activity, which was from the mic plugged into channel 7 of the DigiMAX FS. I tested all the DigiMAX FS channels and yes, they all came through just fine. The only problem I had was that occasionally, there would be weird distortion but it was easily fixed by just switching a SCOPE parameter to something else (e.g., different sync) then switching back again. Once it settled in to the right setting, it stayed there -- the distortion would happen only when first initializing the system.

I must say that the DigiMAX FS sounded pretty phenomenal as I monitored it through the Konnekt 24D. I don't know if this was because it was running at 96kHz, the SCOPE system was getting the JetPLL clock, the electronics in the Konnekt 24D, or a combination of factors; but it seemed sweeter than what I was hearing last night at 44.1kHz. However, given the complexity of the initial setup, I wasn't about to try to do an A-B comparison of 96kHz vs. 44.1kHz right now because I was anxious to see how all this was going to work in Sonar. Maybe a little later...

[Anderton]

At the Sonar end of things, I enabled the ASIO SCOPE drivers, set the sample rate to 96kHz, and restarted Sonar (when you change drivers or sample rates, you need to close and re-open). I set up a track to record, assigned the correct input to the track, and...yes! The meters moved, and monitoring through the program yielded that same great sound quality. So I clicked on record, and the whole process worked flawlessly. Click on the attachment to see the screen shot of Sonar's Track View in the process of recording at 96kHz.

[Anderton]

The SMUX protocol was, I believe, developed by Sonorus. It represents an ingenious way to get the old-school 48kHz ADAT light pipe to work at 88.2kHz and 96kHz, and I was impressed that it worked in my system without any head-scratching.

However, I also should give some props to the perennialy-underrated Creamware SCOPE system. Getting it to work with SMUX was just one more example of its exceptional versatility. Every time I use it, I'm reminded why it's my "desert island" audio interface system...because with the DSP, soft synths, and signal processors, it's a whole lot more than an audio interface.

Anyway, having little experience in SMUX-land, I wonder what other gear is compatible with the SMUX protocol. Maybe someone from PreSonus, or the HC community, can chime in with some examples of SMUX-compatible gear you might use with the DigiMAX FS.

One nice thing about the DigiMAX FS implementation is that it still delivers 8 channels in SMUX mode. Of course, though, the SMUX thing is really just an extra added attraction for the DigiMAX FS because you can always go out the regular ADAT port and get 8 channels at 44.1/48kHz.

And speaking of which, it seems that with the SCOPE system, if you have the SMUX input set up and are slaved to the DigiMAX FS, you can toggle between listening to SMUX at 96kHz and "old school" ADAT at 48kHz simply by changing the sync reference within the Samplerate settings window. In other words, when you set the sync to ADAT A only, the sample rate pops down to 48kHz; sync to SMUX, and it goes to 96kHz.

So could I hear a difference? Actually, I do think the 96kHz setting did sound a little better...and I'm someone who is pretty skeptical about high sample rates. I'm not talking any kind of big difference, just a sort of very subtle "air" that didn't seem to be there at 44.1kHz or 48kHz. Or maybe it was just my imagination, but one thing's for sure: 96kHz sure didn't sound any worse!

[Anderton]

This experience basically answers the question about whether the DigiMAX FS is a worthwhile accessory to a digital interface that has only ADAT I/O, or to devices that have limited I/O and could use a mic input expansion box: The answer is "yes." It sounds really good, can be a slave or master, and is extremely straightforward to set up. There really aren't any downsides.

I'm surprised no one has brought up the fact that there's no input pad, and asked whether that's a problem. I'll need someone from PreSonus to confirm this, but I'm assuming the preamp design is such that there are no distortion or headroom issues if you turn the gain down far enough, i.e., turning it down is equivalent to adding a pad, as opposed to running with gain and using an input pad to reduce the incoming level. I haven't been able to overload the input but maybe I'm just not trying hard enough. Rick? Anyone?

All right, that's enough for now. Next up is the "expand digital mixer to give more aux buses" test. Meanwhile, it seems there are a lot of page views for this thread, but not a lot of questions. I hope it's because I'm explaining everything so well :) but please, don't be shy if there's something you want to know.

[kyunghwee]

From my experience with using SCOPE with Soundcraft's Digital 328 via ADAT interfaces, I remember having sync problem when I'd set Digital 328 as master. :( Of course, when SCOPE was set as master, everything was fine.
Between CreamWare A16 Ultra & SCOPE, I'm pretty sure I have to set SCOPE as master.

Reading from prior posts, I assume DigimaxFS's JetTPPL takes care of any jitter problems regardless of which device is set as sync master. I just wonder if one device functions better as a master verses the other (between DigimaxFS & SCOPE). :confused:

[Anderton]

I didn't test SCOPE as master, because I figured setting it as the slave was the more difficult of the two tasks for it. I can try it in Master with the DigiMAX FS as slave if you'd like, but the DigiMAX FS slaves well with everything else I've tried so I didn't make testing that aspect a big priority.

[matta]

Hi Craig,

Thanks for a very informative review. I'd be interested in the results of setting the FS as the master as well. I am a Digi002R user and am looking to add an additional 8 outputs (which is why I'm looking forward to the next part for your test as additional Aux Busses/Outputs) and the additional pres would be nice (although I have a fairly large selection of Boutique designs as well as my own creations). The 002R clock is notorious for being bad and I'm wondering if the FS improves it with the newer/better clock?

I assume you are clocking via the ADAT port NOT the BNC/Coax terminals?

I'd also second a closer look at the electronics. It seems to be strongly SMD based and would also love to know what IC amp the pres are designed around.

Thanks again for the informative review.

Regards

Matt

[heavi5ide]

Hi Craig. I'd also like to thank you for your in-depth review! Definitely a great resource.

Clocks
I'm looking to add better pres and AD/DA to my M-Audio Projectmix I/O. I have heard others mention that a more stable clock source could make the pres in the Projectmix sound better as well. Or I guess not the pres themselves, but the AD in the Projectmix. Do you think the Digimax FS might have this effect? As in, in addition to the expanded i/o I'll get, do you think the Digimax will make the pres in my Projectmix sound better? If so, this would only work with the Digimax as the master clock, right?

While I'm on clocking questions, I was wondering if there's any difference between using the BNC word clock connector or getting a clock signal through ADAT lightpipe or SPDIF. Is one method more accurate/preferable?

Pads
As you mentioned pads on the pres, or the lack thereof, I thought I'd put in a vote to get some more info on this topic. Currently with my Projectmix I/O, which doesn't have pads, my Snare mics (sm57 and 58) and overhead condensers peak fairly often when playing loud. Just wondering if I get the Digimax, will I need to also get some outboard pres with pads to take care of this? It would be nice if the Digimax could handle these hot inputs...

Thanks again for the great review!

Nick

[Anderton]

<<I assume you are clocking via the ADAT port NOT the BNC/Coax terminals?>>

Yes.

<<Thanks for a very informative review. I'd be interested in the results of setting the FS as the master as well. I am a Digi002R user and am looking to add an additional 8 outputs (which is why I'm looking forward to the next part for your test as additional Aux Busses/Outputs) and the additional pres would be nice (although I have a fairly large selection of Boutique designs as well as my own creations). The 002R clock is notorious for being bad and I'm wondering if the FS improves it with the newer/better clock?>>

I may not have been clear. I've used the FS several times as the master, including with the Creamware card doing the SMUX thing. The FS works great as a master or slave with everything I've tested. Unfortunately, I don't have a Digi002R for testing so I can't comment on that particular unit. However, if it has a jittery clock, I think you'll find that synching to the FS would clean it up.

[Anderton]

<<I'm looking to add better pres and AD/DA to my M-Audio Projectmix I/O. I have heard others mention that a more stable clock source could make the pres in the Projectmix sound better as well. Or I guess not the pres themselves, but the AD in the Projectmix. Do you think the Digimax FS might have this effect? As in, in addition to the expanded i/o I'll get, do you think the Digimax will make the pres in my Projectmix sound better? >>

In theory, it should as long as the FS clock is more stable than the Projectmix I/O.

<<If so, this would only work with the Digimax as the master clock, right?>>

That's what I would assume; maybe someone from PreSonus could give a definitive answer.

<<While I'm on clocking questions, I was wondering if there's any difference between using the BNC word clock connector or getting a clock signal through ADAT lightpipe or SPDIF. Is one method more accurate/preferable?>>

Again, this is pushing the boundaries of my knowledge a bit, but I my understanding is that a stable clock is a stable clock, regardless of whether its output appears on a BNC connector or ADAT light pipe.

[Anderton]

The Panasonic DA7 mixer is pretty old at this point and hasn't been marketed by Panasonic in years. But it's been a real workhorse for me, and remains one of the better-sounding digital mixers I've heard.

Its main limitations are an inability to do sample rates higher than 48kHz (although the EQs are double-clocked, which I think is one reason why I like the sound of the EQs). The other is that there are only 8 LXR mic inputs in a stock unit. You can buy expansion cards with breakout cables and such for more inputs, but given that the mixer has two ADAT expansion cards, I wanted to see if the DigiMAX FS could serve as a suitable expansion unit.

I patched the DigiMAX FS ADAT out to the DA7's ADAT in that gets distributed to channels 17-24. In this situation, the FS had to be the master because I didn't hook up a DA7 ADAT out > DigiMAX FS ADAT in connection. At first, there was something really weird about the sound -- a sort of metallic, midrangey effect. After scratching my head for a bit, I noticed that the DigiMAX FS's internal clock rate was -- doh! -- still set at 96kHz from my SMUX experiments. Frankly, I was amazed I heard anything at all.

Once I sorted that out, and endured a few headphone blasts when there wasn't a clock frequehcy, the DA7 was more than happy to sync to the FS and locked with no problems.

[Anderton]

Now that I had 8 channels of XLR mic pres coming into channels 14-24, I figured the next step was to compare the mic pres in the FS to those in the DA7.

It should be noted the DA7's mic pres were quite something for their day. Panasonic had developed some big-bux mic pres for a theater console they were selling in Japan, and the DA7 benefitted from trickle-down technology and economies of scale. In fact, the mic pres were one of the reasons I bought the DA7 in the first place. So I was curious to see how they'd stack up.

Although the low-end fullness was pretty much the same, I did notice that the FS preamps had more "definition" in the high frequencies. It wasn't so much a question of better frequency response; they both "hit the high notes." But the FS ones had more detail, as if you were playing back at a somewhat higher level (no, I wasn't!).

[Anderton]

As the DA7 has word clock out and in, I thought I'd check out how nicely it played with the DigiMAX FS. I decided to make the FS the master, so I ran FS word clock out to DA7 word clock (terminating the DA7 in, of course) and switched over to word clock sync from ADAT sync.

It worked just fine. I didn't notice any sonic difference bouncing back and forth between the two sync sources, which implies to me that a stable clock is a stable clock, regardless of the medium over which it appears (word clock, ADAT, SPDIF). Does anyone from PreSonus (or anyone else, for that matter) know if one clock format is inherently more stable? In other words, all things being equal, if one has a choice of sync sources is one the "premium" one?

[matta]

Hi Craig,

Thanks for the answers and further posts. In relation to the above posts any chance you could upload samples of the DA7 vs Digimax FS for us avid readers to listen to? I'd love to do an A/B here at home to 'audibly' hear your findings.

Thanks again

Matt

[Anderton]

Another DA7 limitation, in fact a limitation of most digital mixers, is that there never seem to be enough aux outs. The DA7 has six aux outs: stereo digital over SPDIF, and two stereo outs that can be used as four mono outs. There are of course insert jacks on the inputs, but patch in an analog vocoder and reverb, and that's all she wrote.

However, the DigiMAX FS has a cool and unexpected feature: 8 DAC outputs that can "listen" to the ADAT in (these DAC outs are in addition to the direct outs that come from each input). The DA7 has a total of 16 analog ins (the aforementioned eight XLR ins plus eight line-level balanced inputs), making it well-suited to the DigiMAX FS.

I hooked up the DA7 ADAT out to the DigiMAX FS ADAT in, set the DA7 to master, and synced the DigiMAX FS to external ADAT sync. The ADAT outs show up as bus outs in the DA7, so now I had eight bused aux outs. I patched one of the DAC outs back into one of the analog line in channels. So far so good.

The big limitation, of course, is that as the auxes are bused signals, there's no way to control the level going to the bus except by altering the channel fader, which of course alters the mix. I was hoping that I might be able to use the bus pan control with mono devices to serve as a pseudo-volume control, but I never got that far: The sound coming back into the DA7 had a nasty distortion, as if it had gone through bit reduction.

I tried other sync scenarios, other DAC outputs, balanced audio lines, audio unbalanced lines...nothing could get rid of that nasty distortion. Was it somehow a problem with the DA7 ADAT outs? I looped the ADAT out back to the ADAT in on the DA7, and it performed exactly as expected.

After beating my head against the wall for over an hour, I gave up...I just couldn't get the DAC outs to be happy. Could it be a hardware problem within the DigiMAX FS? I'm going to try the DAC outs with some other ADAT-compatible gear and see what happens. Stay tuned...

[Anderton]

This time I took the ADAT output of the Konnekt 24D, patched it into the DigiMAX FS, and there was a hopeful sign as the FS synched right up to K24D. With the K24D, the ADAT outs go to ADAT channels 1+2. I monitored DAC outs 1 and 2, and...same problem, same nasty distortion. This was such a simple setup, with so few variables, I don't think there any sync or level mismatches.

As I can't imagine that the FS is operating as it's supposed to, and as I'm really quite sure I didn't do anything wrong with the hookup, my gut feeling says it's a hardware problem. I realize hardware problems are pretty rare these days, but...I don't know what else it could be. Rick? Have you heard about anything like this...am I doing some bonehead thing?

[Anderton]

Well at this point I only had two things left to test: The inserts and the direct outs. So hold on a second while I patch an Aphex Compressor into the channel 1 insert...

Okay, that works.

[Anderton]

Okay, let's try the direct outs...I'll patch into an input of my DA7...

Yup, they work just fine too. And just to make sure there's no confusion, these are post-preamp direct outs, not direct outs from the mic inputs. But you knew that :)

[Anderton]

<<Thanks for the answers and further posts. In relation to the above posts any chance you could upload samples of the DA7 vs Digimax FS for us avid readers to listen to? I'd love to do an A/B here at home to 'audibly' hear your findings.>>

The only problem with that is the biggest file I can attach to a post with this version of VBulletin is 102K, which is a little over six seconds of audio with 128kbps MP3 audio. So while I've used quite a few audio examples in pro reviews (for example, check out the Sonar 6 Pro Review) to show obvious effects like quantizing drums or specific guitar effects, the kind of subtle differences I'm talking about get demolished just by being converted to MP3.

I've been lobbying for private hard disk space on the HC server to stash bigger audio and video examples that people could download...maybe someday :)

[ralfstein]

Originally posted by Anderton
However, the DigiMAX FS has a cool and unexpected feature: 8 DAC outputs that can "listen" to the ADAT in (these DAC outs are in addition to the direct outs that come from each input). The DA7 has a total of 16 analog ins (the aforementioned eight XLR ins plus eight line-level balanced inputs), making it well-suited to the DigiMAX FS.

I hooked up the DA7 ADAT out to the DigiMAX FS ADAT in, set the DA7 to master, and synced the DigiMAX FS to external ADAT sync. The ADAT outs show up as bus outs in the DA7, so now I had eight bused aux outs. I patched one of the DAC outs back into one of the analog line in channels. So far so good.

... The sound coming back into the DA7 had a nasty distortion, as if it had gone through bit reduction.

I tried other sync scenarios, other DAC outputs, balanced audio lines, audio unbalanced lines...nothing could get rid of that nasty distortion. Was it somehow a problem with the DA7 ADAT outs? I looped the ADAT out back to the ADAT in on the DA7, and it performed exactly as expected.

After beating my head against the wall for over an hour, I gave up...I just couldn't get the DAC outs to be happy. Could it be a hardware problem within the DigiMAX FS? I'm going to try the DAC outs with some other ADAT-compatible gear and see what happens. Stay tuned...

I was wondering if the problem with the nasty distortion coming from the DAC outs is solved or solvable. I was looking to use the digimax fs as filler pres and the DAC outs as main outs plus for different headphone mixes (since it'll give me 8 new outputs for my daw). In all scenarios the nasty bit reduction type distortion was present? This is actually a mayor flaw then. Any news?

[ralfstein]

great review by the way:thu:

[Anderton]

<<In all scenarios the nasty bit reduction type distortion was present? This is actually a mayor flaw then. Any news?>>

Yes. I contacted PreSonus about this, and they were going to overnight a new model to me on Wednesday, but the shipping department was closed because of the Thanksgiving holidays. They'll be sending one out on Monday and I'll have it on Tuesday.

They could not duplicate the problem there and no one else has reported anything similar, so it seems likely this is a hardware problem unique to my unit. UPS is not always kind & gentle with their shipping practices :( and I did notice the side of the box had been hit pretty hard. The fact that everything else works perfectly also leads me to believe it's an isolated issue. I'll report back on Tuesday.

BTW based on what other people have told me, PreSonus is responsive to customer problems in general, not just to some guy doing a Pro Review on Harmony Central :)

[ralfstein]

Cool. It hopefully and probably IS an isolated issue (would be ridiculous if not). Thanks. Looking forward to more on this pro review.
I wrote to presonus once and they never answered. But i'm not yet a customer, so, maybe that's why.:D

[Anderton]

<<I wrote to presonus once and they never answered.>>

FWIW, they opened up a forum last week to help provide support for potential as well as existing customers.

[maximumpf]

I just installed my new Digimax FS, due in part to this review. Thanks for the good information guys and gals.

It hooked up to my RME 9652 card and I was up and running in minutes. After an hour or two all of my Sonar (4PE 6PE on the way) sessions were up and running without a glitch. I A/B'd the converters in the FS with my old 16 bit converters and the difference was immediately noticeable.

I need extra outs since I will often submix effects though my hardware boxes and I only have one set of SPIDF outs that are dedicated to my DAT or Lexicon MPX-1. They also make monitoring and cue mixes a breeze, particularly when I work with a couple of guys who are seriously into the MORE ME thing.

JT

[Anderton]

Thanks for the feedback! I'm glad you're finding it to be everything this thread says it is.

If you have something with an ADAT out, would you mind running through the DACs and see if you experience the same weirdness I did?

[tourtelot]

Any update on the ADAT to analog output isue that you were having? That, weirdly enough, is the primary interest in this unit. I need the eight outs from my Yamaha panel, and the eight mic pres into it would be a nice bonus.

D.

[Anderton]

PreSonus is sending out another unit in case there was a hardware problem with the one I have here. It was sent out Fed Ex, but it's been snowing a lot here and I don't know if the Fed Ex truck will make it up the driveway today :)

As soon as it arrives, I'll test it out. I really do get the sense that the problem relates to my particular unit, as I'm the only person who's mentioned this to PreSonus. If it was a design flaw, I think they'd 1) be able to reproduce it and 2) others would have complained.

[tourtelot]

Thanks. Good review, BTW. Very thorough.

D.

[Anderton]

Good review, BTW. Very thorough.


Thanks much, that's what Pro Reviews are all about :)

[Anderton]

PreSonus sent me a replacement DigiMAX FS, so I plugged it in and...yes! The ADAT-to-DAC output function worked perfectly. Sounded just fine, too.

Then again, this one's box didn't have a big dent in the side :)

Okay, I think we're pretty much ready to move on to the conclusions.

[Anderton]

Granted, an 8 mic pre to ADAT converter is not the sexiest piece of gear in the world. But this gets extra points for several reasons.

First, defective unit aside (and it's interesting that whatever was wrong didn't take out anything else), everything worked equal to or better than advertised. The mic pres are better than what would expect in this price range, and the clocking is rock solid.

Second, the additional features are very useful. Having insert jacks for the ins is great, including direct outs can be convenient for backup/safety recording situations, and the ADAT-to-DAC output concept is useful. Although I did try to use the DAC outs to expand the aux outs in my DA7, the concept ended up not being very useful because the DA7 has no way to adjust the level going to the ADAT output buses -- not surprising, as these were intended to feed a multitrack recorder, not provide aux sends. This wasn't PreSonus's intended application for the DAC outs anyway, but I was hoping they could be tricked into doing something they weren't meant to do.

On the other hand, where the DAC outs did shine -- unexpectedly -- was for using external effects in conjunction with computer interfaces having ADAT I/O. No matter how "in the box" your studio is, I'd bet you probably have a couple cool analog effects sitting around you'd like to use. With the DigiMAX FS, it's easy: Route a track to an interface ADAT out, patch the corresponding DAC output into your effect, then patch the effect out into a DigiMAX FS in and feed it to an audio input. Yes, there will be some latency by doing the D/A - D/A shuffle, but this can be adjusted through track sliding during mixdown (and if you have Cubase SX3 or Cubase 4, can be compensated for automatically).

Also remember that two of the inputs are guitar-friendly high-impedance inputs, so you can even route into guitar stomp boxes that expect to see a high-impedance input. That definitely appeals to me :)

[Anderton]

The more I used the DigiMAX FS, the more I felt this was more of a collection of modules that just happened to work together as a cohesive unit. By that, I mean that some people might see it solely as a way to get more mic inputs into a computer interface they otherwise like, but lacks I/O (or that they want to use for live recording). Or, consider an interface like the E-Mu 1616 -- great interface, but it has only two mic/instrument ins. Because it has ADAT I/O, not only can adding a DigiMAX FS give you four instrument inputs and six mic ins (or 10 mic ins, etc.), you can even do surround mixing by pumping signal to the ADAT out, and taking the DAC outs to a surround monitoring system.

It's also the only thing in my studio that, thanks to the SMUX option, can get clean mic signals into my Creamware interface at 88.2 or 96kHz. And while I have no real use for the direct outs, for live recording, they would definitely come in handy.

So overall, it's very much in keeping with what seems to be the PreSonus product philosophy: An "in the trenches" box designed to solve real-world problems, for which you get more than you expect, given the price.

And that concludes the "official" part of the review, as I've tested and evaluated every feature the DigiMAX FS offers. However, the thread is of course still open for any questions or comments you might have, or in case I come up with any other applications I might have missed the first time around.

[tourtelot]

Thanks! Just what I needed to hear. Now what can I sell to come up with the money<g>?

D

[Anderton]

I was under the impression that you had to use both ADAT outs or ins in order to do the SMUX thing at 88.2 or 96kHz. However, I just found out from Mike Martin at TC that the DigiMAX FS will output channels 1-4 over one of the ADAT outs.

[cioto]

Hi!
I'm new. Thanks for the review, glad to see everything is fine with the new digimax. :)
I'd like to ask you something, before I buy my digimax fs.
I do live multitrack recording, and I get the signals from the insert of the FOH console. So I must rely on the gain settings on this board... if for some reason, during the show, this gain are changed, my rec levels change too. Beside this, I'd like to connect everything to my pres (the digimax pres must be absolutely better than the FOH's Behringer...).
So I'd like to know if the ADAT out and the direct analog out can be used simultaneously, becaus I want to use the ADAT for the recording (with my motu828) and the direct out to feed the mixer analog line in.
Plus, I'd like to know if connecting jacks half-way in the inserts break the signal paths, because I may want to use these out as additional/backup analog outs.
Thanks a lot!!!

[Anderton]

{b]Beside this, I'd like to connect everything to my pres (the digimax pres must be absolutely better than the FOH's Behringer...)[/b]

That's a pretty safe assumption :)

So I'd like to know if the ADAT out and the direct analog out can be used simultaneously, becaus I want to use the ADAT forthe recording (with my motu828) and the direct out to feed the mixer analog line in.

Yes. They're both available at all times.

Plus, I'd like to know if connecting jacks half-way in the inserts break the signal paths, because I may want to use these out as additional/backup analog outs.

Excellent question! Unfortunately I'm in Tokyo and away from my studio, but I will check when I return home...or maybe someone from PreSonus can answer before I get back?

[ValleySound]

Great reviews of the newest Digimax. I bought three of the 96K at about the time when the FS came out. I went with the 96k for the limiters as well as individual phantom and pads. I don't think I will buy the FS just for the fact that I have 24 channels of Digimax pre's and will probably jump to boutique pre-amps that add certain character sound quality.
I emailed the company a while back and here is a little extra info:
"The LT and original 48k DM use 24bit Alesis converters. The Digimax96k and Digimax FS use higher end AKM's. All 4 have different preamp designs. ; ) We like to keep it interesting rather than copy/paste the same preamp design over and over like some folks do."
So they are also saying, that their A->D converters are of greater quality as well. This I think is very important, because the preamp design is half the sound and by using the ADAT or digital outs, you are accessing very good quality A->D conversion. If they had used lesser converters, there would be the possibilty that the analog output quality would be better than the digital output. Aswe see with the FS, the digital outputs and flexibilty are what make the product extremely unique and beneficial beyond just being another pre-amp on the market

[mattrw89]

What about a comparison between the Digimax 96K and the Digimax FS? I know the 96K have special limiters that are supposed to smooth out clipping as well as a little better converters. But, regarding the limiting functions, as long as you keep the gain low enough is the limiter an advantage at all? Secondly, what is the sound quality difference in the A->D Converters between the 96K and the FS?

Thanks,
Matt

P.S. Thanks for the GREAT review!

[Anderton]

I don't have a 96k, so I can't really offer any comparisons...anyone out there have comments?

[ValleySound]

Originally posted by mattrw89
What about a comparison between the Digimax 96K and the Digimax FS? I know the 96K have special limiters that are supposed to smooth out clipping as well as a little better converters. But, regarding the limiting functions, as long as you keep the gain low enough is the limiter an advantage at all? Secondly, what is the sound quality difference in the A->D Converters between the 96K and the FS?

Thanks,
Matt

P.S. Thanks for the GREAT review!
The company said that the A->D convertors are the same in the 96k and FS. The limiters have to be set carefully if you are recording as they become audible if used too much. They are supposed to be compressor/limiter and I'll tell you that they are definitely brickwall limiters if you need to protect against digital overs such as sources that have large transients like kick or snare. I pretty much have them all set in the same place and you can see the signal stop if they dp slam them hard.

[nollie]

Originally posted by Anderton
However, this still leaves an upper and lower shielding panel in place. To remove this, you would presumably need to unscrew the lock nuts from 24 1/4” jacks, 2 BNC connectors, and a wall wart connector. Now, I love you guys and all that, but that’s a lot of work![/B]

It took me less time to remove all the nuts than it's taking for me to write this post. (Place the socket on the locknut. No need for the wrench/handle--you'll have enough torque just turning the socket with your fingers. Turn the socket less than one turn. And off comes the locknut. Repeat 23 more times.) 5 minutes maybe?

Here are the resulting photos.

Image A (http:///kimcheerecords.com/articles/random/digimax-fs-0.jpg) (225 KB)
Image 2 (http:///kimcheerecords.com/articles/random/digimax-fs-1.jpg) (240 KB)
Image iii (http:///kimcheerecords.com/articles/random/digimax-fs-2.jpg) (249 KB)

Although the Class A preamps are made up of discrete surface-mount components, there are a bunch of 33079 quad op amps supporting the DACs, inserts, and direct outs.

[rottert]

Hi,

I'd like to connect the ADAT outs to 2 different recorders for backup reasons, so I was wondering if both ADAT outputs are active in non-SMUX mode and can be used in parallel?

(I want to feed a MOTU 828 as well as a Mackie SDR24/96)

Thanks!

[cioto]

Still waiting for my insert question!

[ricknaqvi]

So I'd like to know if the ADAT out and the direct analog out can be used simultaneously

Absolutely. The application that you describe is EXACTLY the purpose that we included analog direct outputs for the preamps that work simultaneously as the ADAT lightpipe output.

I use the Digimax FS in the same way in my live recording rig - I send the lightpipe out to the Firestudio while the analog direct outputs feed an Alesis HD24 that is used for backup.

Another cool use of the multiple outputs was used by Peter McCabe when he recorded Macy Gray a few months back. They set up the recording rig right by the monitor console on the side of the stage with four Digimax FS preamps that were feeding a ProTools system. The plugged the snake that was supposed to be feeding the monitor console DIRECTLY into the Digimax FS preamps. Then the ADAT outputs fed the PT rig and the Digimax analog outputs fed the monitor console. Here's a link to a video where he explained the set up: http://www.presonus.com/peter_mccabe.html

Hope this helps.
Rick

[ricknaqvi]

I'd like to connect the ADAT outs to 2 different recorders for backup reasons, so I was wondering if both ADAT outputs are active in non-SMUX mode and can be used in parallel?

Great question. I will find out for sure for you tomorrow. At this time I don't think that it is possible to send 2 ADAT signals of the same eight channels because I believe the 2nd ADAT port is reserved for channels 5-8 when in 96k SMUX mode.

However, if you have the 828 and the SDR, you can send the 828 the lightpipe output from the DMFS and the backup device cna get the analog outputs from the DMFS at the same time. I do the same thing with my Firestudio and Alesis HD24 and it works perfectly.

Hope this helps.

[cioto]

Hi rick, do you know if inserting jack connectors half-way in the insert socket break the signal path? I could use them as additional analog outputs.
Thanks!

[ricknaqvi]

Here's the deal with the inserts:

you can wire a special cable to make them into direct outputs.

HOWEVER, if you plug just a regular TS jack ALL THE WAY IN, it will bypass the mic preamp and go straight to the A/D converter. This is for guys that want to plug external mic preamps into the Digimax FS and not go through a line amplifier stage.

If you plug it half way in, then it will give you another output just like the Direct Outputs that are included.

I could get you the wiring diagram to make an eight channel snake that will turn your inserts into ANOTHER set of outputs. You will also be able to plug them all of the way in instead of risking a 'half in' scenario which really make me nervous......

That would give you a total of THREE sets of simultaneous outputs:

1. ADAT output
2. Analog direct outputs
3. Inserts as outputs

Please email me directly at rnaqvi@presonus.com and I'll send you the diagram. I'm in Florida at a conference and will be back in the office on Tuesday so it might take a day or so.

Kind Regards,
rick

[Signal to Noise]

Excellent, excellent Review! I have been curious about the FS for quite a while now, for one having more 8 more decent pres w/ inserts, two having eight more analog outs for analog summing/ bussing. I will buy one shortly and post my results.

I am currently using the MOTU 2408 MK3 running Digital Performer.
I have a few decent mic pres, Avalon, Trident, MCI
OK mics, AKG 414, Oktava 319, Shure KSM27

I have noticed / read that the clock/audio section in MOTU products leave something to be desired (http://www.blacklionaudio.com/motu_firewire_mod.html)

What I'm hoping is that Digimax FS will reduce what I tend to notice which is this: When monitoring thru the 2408, the signal sounds great, once recorded, the playback is a little disappointing.

New jitter reduction technology for smear-free audio The DigiMax FS is loaded with new patented JetPLL jitter reduction technology ensuring ultra-high converter performance, fast and robust locking through a wide range and variation of frequencies and noise noise shaping to remove nearly all audio band jitter.

[ricknaqvi]

Hi rick, do you know if inserting jack connectors half-way in the insert socket break the signal path?

No, it won't break the signal path. However, I can send you a wiring diagram that will enable you to plug them all the way in and get another set of direct outputs. Just email me directly and I'll get it to you.

THANKS!

[cubistguitar]

I have added the FS to my Yamaha LS-9 16 mixer and it makes a great addition to the front end.

However the DAC outs don't seem to be as full and present as the yamaha outs

Do I need to do some more setup?

The Yamaha is the master clock (48K) and the connection is by their 16 channel adat i/o ( 2 optis in and 2 optis out) I have 1 connection in and out

I had hoped the outs could function as "zone" outputs to run to speakers in odd places in a live setup or to add connections to monitoring or recording equipment.

Maybe the Yamaha connections are just that good, but they really kick the FS in the ass. The mic pres are excellent, can't really tell any big difference from the yamaha pres( which are just a tiny bit bigger sounding )

I want this to be user error, cuz I can use all the outputs I can get

[Eradicator]

Morereverb:

Just thought I'd ask if you have replaced the lightpipe cable.

Also, do you hear the distortion from just the pre's? Do you have a way to run the pre direct into an analog mixer in and out to the monitors? This would help in diagnosing if this is a pre issue or a converter issue.

The converters in the FS are the same converters in the Digimax 96 (so I'm told anyway).

Maybe there is an issue with the BLA modded converters and the new JetPLL technology converters in the FS???

I have a FS unit on the way from an eBay purchase, so I will test it in Pro Tools as soon as it comes in.


Eradicator
N00b to Pro Tools
Long time recording engineer

[morereverb]

Eradicator, I'm checking the lightpipe cable and doing a few other diagnostic tests tonight...will report back. I realize that my earlier rant may be premature, especially considering that no one else is experiencing same issues. No disrespect to Craig or Presonus -- could very well be my error, not the unit's. Still learning the hidden pitfalls of the digital realm here, I guess.

[morereverb]

Eradiacator, you'll enjoy your purchase. Thanks very much for the diagnostic help.

I'm digging my FS now that I got it slaving right to my BLA-modded Traveler via BNC cable. The preamps do sound very nice.

Hats off to Presonus, thanks to Anderton.

[AmpliFuzz]

I have Signal to Noise's same question - will the Digimax FS make my M-Audio Firewire 1814 analog I/Os better sounding thru better clocking, or in any event provide better quality converters using its own? It would be a great side benefit of having 8 more good pres, the main reason for buying. I'm not a ADC connoisseur by any means, but lately I find the 1814 ones somewhat lacking.

[waltert99]

This reivew was really helpful-I just bought a Digimax FS and love the preamps-but I do have one problem.

I'm using a DIGI 001 with OSX 10.3.2 and PTLE 6.4 and the 001 won't seem to sync perfectly with the optical input(Digimax set to be the Master) I get clicks every now and then even with no input-I also have a ADA8000(to compare them-D-FS wins hand down) and the Behringer does the same thing-only much worse.

Here's the funny thing-they both seem to work fine in OS9. So it sounds like either an OS X problem or a 6.4 with OSX problem, has anyone experienced the same thing? Or am I the only guy that hasn't upgraded to a 002? :)


P.S. I guess I could run it with 001 as master but I was hoping to take advantage of the better clock on the Digimax-would I lose the benefits of the low jitter technology?

[ScofieldKid]

A schematic/chart would help. Didn't see one in the manual.

ADAT out is ah the 8-channels of A-to-D from the analog inputs.

ADAT in is a source for the DAC outputs. Completely unreleated functions, correct? So there is no internal mixing or DAW routing that would use the DAC outputs? It's just the mirror of the ADAT in, and that is all? Correct?

Or, is it the case, that if you are using the firewire and ASIO drivers, you can take ADAT in as input, and/or also use ADAT out as customizable mix for output? Similar question for DAC out?

Or is this device just simpler in concept than that? What got me thinking about this was: if I have a line-in, bring it in on firewire, mix it with something else, then want it to appear on an analog output... where would it appear? If the DAC outputs are occupied in use by the ADAT in, then my ASIO routing would drop on the floor? Or would I need to use a separate box for doing mixed D/A output?

[ricknaqvi]

Completely unreleated functions, correct? So there is no internal mixing or DAW routing that would use the DAC outputs? It's just the mirror of the ADAT in, and that is all?


You are correct. The ADAT inputs give you eight analog outputs (DAC outputs) from your DAW. Depending on how extensive the DSP mixer of your interface is, you can route any stream from the DAW or combination of inputs and DAW returns to the DAC Outputs.

For example, if you are using the Digimax FS in conjunction with an interface like the Firestudio, you can route any one of nine stereo internal mixes of the inputs and playback streams to the DAC outputs. They show up as outputs 9-16 and 17-24 of the Firestudio.

Hope this helps.

Kind Regards,

[ricknaqvi]

I guess I could run it with 001 as master but I was hoping to take advantage of the better clock on the Digimax-would I lose the benefits of the low jitter technology?

With a 001, the only way to use a Digimax FS is to set it up as the master clock in your hardware preferences.

Make sure that the Digimax is set to whatever sample rate your session is at. And also make sure that the Digimax is set to 'INTERNAL' on the front panel and not 'adat sync'.

Kind Regards,

[Anderton]

Thanks for responding, Rick! BTW I will be testing the DigiMAX FS as an expander for the Alesis io26 in a "neighboring" Pro Review.

[ScofieldKid]

Ah, thanks for the quick response.

It occurs to me, then you could use this thing for like an 8-channel 1-to-3 fanout device, going 8-out of the inserts, 8-out of the direct outs, then looping an ADAT cable from ADAT out to ADAT in, then using the DAC outs as copy #3.

Fun!

[bbdude]

Craig,
Great review. Did you get a chance to try the Inserts as line-ins? I was wondering if this would be a beter way to go than thru the front panel line-ins? My goal would be to bypass the preamp. I have a number of line-level sources (2 stereo keyboards, 4 Mixer Subouts, etc). I don't know if the front panel inputs bypass the pres or not. Also, if you did test the inserts, do the gain knobs affect the level of the signal? Also are the clip leds functional when inputting via the inserts, and finally, if a line-level signal is fed into the insert, would it also appear on the direct-out?
- the bbdude

[jeff92k7]

Now, let me make it clear that I believe there are basically three types of mic pres in this world:

* Cheapo pres. <snip>

* Middle-class "designer" pres. These are what you find in better quality mid-class gear, like the Mackie Onyx preamps, those in the 1820m, and the PreSonus. <snip>

* Big-bucks "designer" pres. <snip>

... the fact is that the DigiMAX FS has eight pres vs. the two in the 1820m or two in the Onyx Satellite (which I used as a comparison). The fact that they sound very "honest," and balanced across the spectrum, is pretty cool given the price. Bottom line: You get eight very fine mic pres in the DigiMAX FS that I would file under the "middle class designer pre" category...actually, maybe even upper middle class.


I would be very interested in your thoughts of how the Digimax FS Preamps compare to the Onyx Preamps. You list them as both being "middle class" and then list the Presonus as "maybe even upper middle class." Does that mean that the PreSonus sound ever so slightly more accurate than the Onyx pres?

I have an Onyx Satellite and have been pleased with the preamps. I am now looking for an 8-channel preamp with ADAT I/O to expand a TT24 and my curiosity about the DigiMax FS has been stirred, especially since it is a bit less expensive than the 800r.

Thanks,
Jeff Foster

[Tigr-leo]

Hi,people!!! My name is Leo and I sound-engineer from Russia.
I use RME FF800 and I need more chanals and micpreamps. I want to buy DigiMax FS, but I don't know minimum-possible input level this interface???

How much power-level overshoot stand it(1\4 jack connection)???
My RME FF800 = +19 dB.
and DigiMax FS = ?????

P.S. Sorry my English:)

[ricknaqvi]

Hi Leo,

The maximum input level is +22dBu on the line inputs. (Unity Gain, 1KHz @ 0.5% THD+N)

Hope this helps.

Kind Regards,

[Tigr-leo]

ОК!!! Thanks, Rick Naqvi!!!

I want that interface, but price in Russia vegy big:(
Your distributor in Russia - Avallon(www.avallonltd.com) sell DigiMax FS = 930$:((((((((((((((((( Sheel:(((( Why?????????????????

For example: http://www.musiciansfriend.com/product/PreSonus-DigiMAX-FS?sku=241845

...and one question: Can I use Presonus Firestudio instead of DigiMAX FS, how multichanals A/D and D/A-converter???

[gregovertone]

how does this compare to the digimax LT?

[Elien]

Dear all, there was one detail mentioned in the review that confused me:

The statement was that the Phantom Power can only be switched on for 1-4 and 5-8 separatedly (a fact of course) and this was commented as a disadvantage because when you use a guitar on one of the first four inputs you could not use the ohters with phantom power...

I dont see this. The phantom power is to my knowledge only available on the XLR part of the combo-Plugs, so the jacks are unaffected by the phantom power.

So: Turning on Phantom power for the inputs 1-4 does not have any impact on using input 1 as an instrument input, nor does using input 1 as an instrument input hinder you to use phantom power on inputs 1-4 and use the remaining three inputs of that "group" as mic -inputs.

Did I get it wrong or was the reviewer simply mistake?

Thx, Ernst

[nostradamust]

Have you found any information yet about no -20 pads on the DigiMax FS? That's exactly the information I was looking for when I came across this forum. I will be hooking up drum mics to mine next week, but usually need pads on most of them... could the preamps really have so much headroom that simply turning them down is equal to a -20 pad?

[neosapien9]

Hey Anderton how does the preamps compare to the onyx?

[Anderton]

Dear all, there was one detail mentioned in the review that confused me:

The statement was that the Phantom Power can only be switched on for 1-4 and 5-8 separatedly (a fact of course) and this was commented as a disadvantage because when you use a guitar on one of the first four inputs you could not use the ohters with phantom power...

I dont see this. The phantom power is to my knowledge only available on the XLR part of the combo-Plugs, so the jacks are unaffected by the phantom power.

You are correct. I thought this had been corrected within the review, but apparently not. Sorry for the confusion.

[Anderton]

Hey Anderton how does the preamps compare to the onyx?

Unfortunately, both the DigiMax FS and Onyx were returned to the manufacturers a long time ago so I can only go on what I remember. Overall, I recall the Onyx preamps as being exceptionally "clean" and transparent (which some have considered "brittle"). The DigiMax FS preamps sound perhaps a little bit warmer. To give an example, for acoustic guitar I'd probably prefer the Onyx, but for recording a guitar amp, I'd go with the DigiMax. For vocals, it would depend on the vocalist's timbral quality.

[neosapien9]

Thanks Alot, im very greatful for ur response/opinion.

[tradivoro1]

Hi Craig, I'm just wondering, do you have an opportunity to compare the preamps in this unit to the fmr rnp? The presonus unit just seems like a much more versatile piece of equipment, I'm just wondering if there is that much difference or that much more alleged improvement in the sound... By the way, thanks for these live reviews, they're certainly unique and give a great perspective to all the peices of equipment that you've reviewed here in the past...

[Matija Gajic]

Have you found any information yet about no -20 pads on the DigiMax FS? That's exactly the information I was looking for when I came across this forum. I will be hooking up drum mics to mine next week, but usually need pads on most of them... could the preamps really have so much headroom that simply turning them down is equal to a -20 pad?


Hello everybody,and thank you for the great review.
Really,what has happened with the story of lack of pads on the DigiMax inputs? I am rather curious about this, since this piece of gear is next on my list(for now,I'm proud owner of M-Audio FW 1814).The main reason I will be buying DigiMax FS is the 8 pres(M-Audio FW1814 has two combo pres).HAS ANYONE around here used DigiMAX to record sounds(instruments) of very high intensity and with much transients,i.e. kick drum,snare,or had experience with how DigiMAX FS pres handle the overheads???Please respond.Thank you very much.:thu:


P.S. On presonus.com i found a useful review by Jason Scott Alexander of mixonline.com that says:

"...but I’m happy to report
that due to the unit’s excessive headroom, it’s
more than happy with hot signals, so the lack
of input padding isn’t missed."

[mchenetz@comcas]

I just have to say that the reviews really helped me with my decision to buy the Presonus Digimax FS. I currently am using an Apogee Ensemble and I needed more ins. I was contemplating products from RME and Apogee and then I stumbled across these reviews. I was very intrigued. I ordered the unit and installed it with ADAT to my Ensemble and used Word CLock to sync. The device works great! The sound is nearly as good as my Apogee. I am very, very happy. Thanks again for all of the review.

Mike

[Godsguitarist73]

Can anyone tell me if you can use the Digimax FS for inputs (A/D) and outputs (D/A a.k.a. DAC) simultaneously? Reading Mix's review, it seems to indicate you can but I wasn't sure.

Thanks!

Brandon

[ricknaqvi]

Hi Brandon,

Yes, you can use the D/A outputs at the same time as the A/D.

In fact, every analog connector of the Digimax FS can be used simultaneously:

1. Front Panel XLR/TRS inputs
2. Rear Inserts points
3. Analog Direct Outputs
4. DAC Outputs

Hope this helps.

Kind Regards,

[Godsguitarist73]

Wow, Rick... you guys are making it just about impossible for me to NOT buy this thing! :D

Thanks for the reply!

BTW, is it the same conversion quality both directions?

Thanks!

Brandon

[ricknaqvi]

Actually, the D/A conversion is 3dB even better.

Here's a few specs from our website:

ADC Dynamic Range (Awtd, 48KHz Sample Rate) 107dB
DAC Dynamic Range (Awtd, 48KHz Sample Rate) 110dB
Bit Depth 24
Reference Level for 0dBFS +18dBu
Digital Audio Output (2-Toslink™ Connectors, 8 channels) ADAT/SMUX
Digital Audio Input (2-Toslink™ Connectors, 8 channels) ADAT/SMUX
Internal Sample Frequency Selections (KHz) 44.1, 48, 88.2, 96
External Sample Frequency Inputs BNC, ADAT (SMUX)
BNC Word Clock Output Level (75 Ohm load) 4.5V
BNC Word Clock Input Level Range 3.0 to 5.5V
Jitter Specification <20ps RMS, 20Hz-20kHz
Jitter Attenuation >60dB; 1ns in approx.1ps out

If you get to check out a Digimax FS, please post back your thoughts. I'd love to hear what you think.

Kind Regards,

[Godsguitarist73]

Wow! Very nice. I was planning on saving up for a used Apogee AD-16 (non X version... about $1k used), and probably still will, but this will work great for a front end and headphone sends and when I finally do get my Apogee, I can still use the FS as headphone sends. Or maybe get an optical patchbay and still use both. Should be sweet! All into ProTools via a LightBridge. :)

Thanks for the reply, Rick!

Brandon

[doug osborne]

I have had this unit for quite a while, and it certainly meets my expectations. The mic pres and DIs sound a lot better (less clouded, more detailed) than a Mackie mixer, Digi 00x interfaces, etc. The mic pres work well with a variety of mics, from cheap ribbons to condensers and DIs needing phantom power. They don't sound as uncolored, immediate, and three-dimensional as preamps that cost many times what each in an FS costs, like a Martech MSS-10, but they sound good.

Has anyone gotten any sound out of the DigiMax FS DAC outputs?

I have the DMFS connected to my RME Multiface via ADAT1-8 In and 1-8 Out.

All inputs work correctly (1-4 at 96k, 1-8 at 44.1, etc.) - mic inputs, instrument inputs on 1+2, inserts.

Insert sends work, direct outs work, but I have never been able to get any sound other than hiss (not extremely loud, and it sounds like full bandwidth white noise) from the DAC outputs.

The RME Totalmix, SONAR, Samplitude, etc. can send out through any output of the Multiface except for the DMFS through the ADAT out (I have no other ADAT gear, so I haven't checked this output, but there is a red light from the optical out, and RME settings seem to be correct). I have tried numerous optical cables. I have tried both TRS and TS 1/4" cables on the DAC outputs, and numerous devices at the other end (headphone amps, compressors, guitar amps, etc.) with the same result - hiss.

Does anyone think this a bad unit (these outputs have never worked)? Or is it pilot error with an obvious, easy solution?

[ricknaqvi]

Hi Doug,

Here's something you can try to test the D/A:

Plug a mic into the Digimax FS,

take the adat output and plug it into the adat input.

See if you get anything out of the analog output.

If you don't hear any signal, plus shoot me an email and we can get your unit serviced. It could be a simple ribbon cable that has gotten unplugged from the inside. Either way, we'll be glad to help you get it checked out.

Kind Regards,

[doug osborne]

Thanks for the swift response!

No sound with your recipe - I'll get in touch with you.

[barneyc4]

veri nice I like

[barneyc4]

really do