technology

TECHNOLOGY
FIELD TEST
TEST
FIELD
BY JASON SCOTT ALEXANDER
PreSonus DigiMax FS
Eight Mic Preamps with Conversion and Flexible Routing
I
t’s been six years since PreSonus
launched its popular DigiMax line, and
nearly four years since the DigiMax last
received a facelift in the DigiMax LT and
DigiMax 96K models. Building on many
of the LT’s technical aspects, the DigiMax
FS is the latest in the line aimed directly
at project studios needing lots of highquality microphone preamps and simple
cross-platform interconnectivity and routing flexibility. The DigiMax FS is an 8-channel Class-A microphone and instrument
preamplifier with ADAT optical and 96kHz
dual SMUX input and output conversion as
its primary selling feature.
your interface or digital mixer, but with no
compatible gear to make use of them. Its
back panel is absolutely loaded with I/O,
featuring SMUX-configured ADAT input and
output (dual sets of multiplexed optical ports
for up to eight channels of 88.2 or 96 kHz),
BNC word clock connectors and 24 analog
connectors arranged into three sections—all
of which are simultaneously usable.
The first section groups eight balanced
¼-inch TRS DAC outputs that are directly
sourced from the ADAT input. This
conveniently converts ADAT optical
signals to analog outputs, ideal for sending
additional monitor mixes or alt sends from a
MEET THE FS
digital mixer or DAW whose analog outs are
already maxed. The next section has eight
TRS direct analog outputs, giving you the
option of sending line-level outputs straight
from the preamps to a console or backup
device during mixing or live recording. The
third group comprises eight TRS connectors
that are configured as insert points for
each input on the DigiMax FS—a very cool
feature. Returns 1 and 2 also act as the linelevel inputs for channels 1 and 2. You can
daisy-chain unlimited DigiMax FS units, and
a 75-ohm Terminate switch allows you to
terminate the word clock signal on the final
unit. Now you understand why the bulky
Combo inputs are placed up front.
The control panel of this robustly constructed
1U box reveals that all inputs are up front,
which might not be the best solution for
everyone but, as we’ll discover later, the
reasoning behind this design decision was
a good one. The inputs are Neutrik Combo
connectors comprising balanced XLR and
¼-inch TRS hi-Z instrument inputs on
channels 1 and 2, while inputs 3 through 8
offer mic or balanced line-level inputs. All
eight microphone inputs include selectable
48-volt phantom power (in groups of four)
and individual preamp gain control. Input is
measured only by red “clip” indicators. The
line-lump power adapter features a lock-nut
for ensuring that no loud pops will result
from accidental pulls to the power cord.
ALL ABOUT THE I/O
What really sets the DigiMax FS apart from
the pack is its penchant for expanding on the
often-underused, or completely sedentary,
ADAT ports of our project studio equipment.
If you’re like most home recordists, you
probably find yourself maxing out the analog
inputs of your audio interface on a regular
basis, wishing it had more—and bettersounding preamps, too! Similarly, you’ve
likely cursed the fact that you see a perfectly
good set of ADAT Lightpipe receptacles on
2
MIX, March 2007 • www.mixonline.com
GOT THE JITTERS?
The DigiMax FS is the first to feature PreSonus’
new JetPLL jitter-reduction technology.
Developed by TC Electronics, it uses a wide
range and variety of frequencies and noise
shaping to remove nearly all audio-band jitter
with the aim of providing superior converter
performance, plus fast-locking and tight
synchronization. The Internal Clock selector
on the far right of the front panel allows
you to set the DigiMax FS as the word-clock
master at various sample rates (44.1, 48, 88.2
and 96 kHz), while External Sync toggles
between ADAT/slave sync and BNC word
clock, which are indicated by red and blue
backlighting, respectively.
CLEAN AND VERSATILE
The business end of the DigiMax FS sounds
fantastic. Its preamps are capable of huge
gain boosts while remaining neutral to the
signal, and deliver an uncompromising, clean
and expensive sound that is truly impressive,
especially for this price range. Even when I
pushed them really hard on distant miking,
they produced an uncolored and consistent
sound that I’d classify with some of the best
transformerless designs out there.
I recorded tracks using a Røde Classic II
and compared the PreSonus unit with several
stand-alone and audio interface preamps
ranging from budget to high-end models,
and I was particularly impressed with the
DigiMax FS’ transparent highs, and its
dynamic and present midrange. It produced
a generally fuller and bigger sound than I was
used to hearing from pre’s in its price range.
Its excellent transient response resulted
in some of the most spacious sounding
stereo recordings I’ve captured, and its two
instrument DI’s were equally sweet on guitar
and electric bass, again revealing a lovely lowmidrange gusto that I’d normally miss with
my interface pre’s costing less than $1,000,
which brings up a good point: Because much
of your typical audio interface’s cost is in its
converters and not necessarily in its pre’s, you
just may find that the DigiMax FS improves
upon the sound of your more expensive
interface when used as a front end.
Like its predecessors, the DigiMax FS
works well with DAWs because its analog
and digital outputs are active simultaneously.
I was able to monitor the analog outputs with
zero latency while recording digitally. With
no real metering to speak of on the DigiMax
FS, you must on the meters within your
DAW. Similarly, the unit’s lack of discrete
phase buttons means DAW users will need
to perform inversions in software. Curiously,
FIELD TEST
the manual skips around discussing the gain
section in any detail, 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.
PLAYS NICE WITH OTHERS
On the technical end, the DigiMax FS’ ADAT
bridging allowed me to finally turn my
Digidesign 96 I/O (which comes standard
with only eight ADAT optical inputs and
outputs) into the 16-channel audio interface
that it truly is. Using a pair of Toslink Lightpipe
cables, I created bi-directional communication
between the DigiMax FS and my 96 I/O
using the 96 I/O’s eight channels of ADAT
optical I/O (the 96 I/O doesn’t support the
SMUX configuration) and set the DigiMax FS
to be the master clock for the system at 44.1
kHz. This allowed me to feed eight additional
channels to Pro Tools and simultaneously
receive eight channels digitally, with the FS
converting them through its DAC outputs.
This allowed for more physical aux sends in
my PT rig, as well as for luxurious sundry
tasks, such as supplying stems to tape decks,
submix components to headphone stations,
outputs for surround monitoring and more,
without having to tie up valuable Digidesign
4
MIX, March 2007 • www.mixonline.com
interface channels. I could quickly configure
this setup in Pro Tools’ Hardware Setup and
busing pages, and then enjoy a plethora of
new routing options. And, remind me again,
this convenience is all from a preamp?
I also tried slaving the DigiMax FS to
my Apogee AD-16X, which does support
SMUX, and once again, synchronization
was brilliantly fast and robust. Thanks to
PreSonus’ JetPLL technology, the DigiMax
FS ensures that any incoming digital source
shares its jitter spec, regardless of which
unit serves as the master clock. After
subjective tests between the much pricier
96 I/O, Apogee’s acclaimed Big Ben C777
chip within the AD-16X and the JetPLL
technology, I feel confident that the DigiMax
FS’ clocking abilities compare favorably.
Having the ability to insert an external EQ
or compressor after the preamp but before
the A/D converter is such a huge boon to
the DigiMax FS, it cannot be overstated. The
converters sound on par with my Digidesign
unit and, arguably, even my beloved Apogee.
I honestly don’t know what kind of magic
PreSonus is pulling off here.
As an expansion device, it serves many cool
functions, including the ability to add highdefinition sample rates and extremely highquality clocking to older interfaces or digital
mixers, or to act as a stand-alone ADAT/
SMUX-to-analog converter. Since so many
interfaces feature only one or two mic
inputs, it’s also a great and inexpensive way
of adding the immediacy of always-active
microphones to a compact recording setup.
I became greedy and wished for discrete
AES/EBU or S/PDIF on each channel for
some very esoteric purposes in my setup,
but I’m assuming that customers who buy
this product will be interested mainly in
its ADAT provisions, and won’t miss those
features at all.
Bottom line: The DigiMax FS provides
eight transparent sounding mic pre’s, an
impressive audio spec at any price range,
first-rate construction, highly flexible routing
options and rock-solid clocking. Purity in
the project studio just got more affordable.
Price: $799.
PreSonus, 800/750-0323, www.presonus.
com.
N
SOMETHING TO CHEW ON
Jason Scott Alexander is a producer/mixer/
remixer in Ottawa, Ontario.
Digimax FS is a multitalented powerhouse.
Product Reviews
TapeOp Magazine, January/February 2007
DigiMAX FS
By Andy Hong
When this unit arrived in my studio, my first assumption was that it was a "remix" of
the DigiMAX 96 or LT, both of which are fine units and sound pretty good, especially
for their price. But honestly, they're kinda boring. Eight preamps feeding eight A!D
converters to Lightpipe—clean sound, affordable, boring. I didn't expect much more
from the FS. Boy was I wrong!
First of all, I was immediately impressed by the FS's sound. Not only do the mic
preamps sound natural and clear, with better low-end extension, cleaner highs, and
less upper-midrange "friction" than what you might expect from other affordable mic
preamps (we're talking less than $100 per channel here), but whatever PreSonus did
with the converters, they got it right. For example, at 96 kHz, I preferred the sound
of the PreSonus DACs over those in my Pro Tools HD 192 I/O—and it wasn't just a
minor difference—whether I clocked internally or externally with the latest
Drawmer and Lucid clocks.
Oh wait, did I say Digital to Analog Converters? Yup. The FS ain't just a mic preamp.
In fact, if you've got a recorder, mixer, computer, or whatever with ADAT Optical
I/O, the FS might be the perfect companion. Here's the scoop:
You get eight channels of discrete Class A mic preamps. And yes, after the sound of
the unit impressed me, I just had to open up the box and look inside. Turns out that
each Neutrik Combo input connector has an army of individual surface-mount
components (along with normal-sized capacitors) behind it. There are a bunch of
33079 quad op amps too, but these are for... the inserts, direct outs, and DACs!
What a package this thing is!
So imagine hooking up the FS to your rig. You get the eight preamps, two of which
can operate as instrument DIs and the rest as line inputs. You get eight direct outs—
PreSonus Audio Electronics | 7257 Florida Blvd, Baton Rouge, LA 70806
T 225.216.7887 F 225.926.8347 | www.presonus.com
Product Reviews
not only great for feeding analog devices/recorders down the line, but also for zerolatency monitoring if you feed a mixer. You get eight inserts for analog processing
before A!D conversion. And plus, you get eight channels of D!A conversion coming
back. (For 88.2 and 96 kHz operation, pairs of Lightpipe in S/MUX configuration are
required.) Alongside a small analog mixer, the DigiMAX FS is pretty much all you
need to record, overdub, and mix with your Lightpipe-equipped recorder or
computer. Even if you prefer working "in the box", you can use the FS to bring audio
out for analog processing before going back in. Or heck, for $600 street, buy an FS
to upgrade the sound of your PT HD rig! (New Year's resolution: stop bitching about
my HD 192 I/O, and sell it.) And speaking of PT, I found the FS to be an ideal
partner to my M-Audio Lightbridge (FireWire to ADAT Optical converter) reviewed
in this issue.
PreSonus Audio Electronics | 7257 Florida Blvd, Baton Rouge, LA 70806
T 225.216.7887 F 225.926.8347 | www.presonus.com
PreSonus
FS
DIOIMAX
**********
new
PreSonus'
micpreamp,
Morethanjustan8-channel
FSoffersa wholenewwayof gettingsoundin
DigiMax
getsconnected...
MarkGousins
andoutofyourDAW.
ith most audio
intedaces being
equipped with just
with the additionalbonusof a price
to manysemithat madeit accessible
pro recordingenthusiasts.
The DigiMax
FS continuesthe originalconceptof
the DigiMaxLT(includinginsedsand
but also
integralADATinterfacing),
expandson the DigiMaxLT in respect
to 96kHzsampleresolution(courtesy
DAC
of ADATSMUXconnections),
Outputs,and a patentedJetPLLjitterDespiteall these
reductiontechnology.
however,
the DigiMaxFS
refinements,
stillmanagesto retaillessthan 8600.
two or eight mic
preamps, many
Maxheadroom
DIGIMAXFS
ManufacturerPreSonus
Price t589
Contact SourceDistribution
02089625080
Web www.plesonus.com
musicians are faced with a limit as to
the number of instrumentsthey can
record at any one time. In truth, even a
simple drum kit recording requiresmore
than eight channels (especiallyif you
plan to use room mics and so on), so
having access to an additional set of
preamps can be highly desirable.
Recognisingthis problem,
manufacturerssuch as PreSonus,
Focusrite and Mackie have all
developed 8-channel mic preamps
specifically tailored for the DAW market,
often using an integral or optional ADAT
optical output as a means of connecting
to an existing audio interface.
DigiMax FS follows in.the footsteps
of PreSonus' previous DAW-expanding
preamp: the DigiMax LT - a product
featuring the same solid build quality
we've come to expect from PreSonus,
unenznr
2006 MusicTech
66 November
In mostcases,the DigiMaxFS will
connectwithyourexistingaudio
viathe ADATLightpipe
interface
lockingeitherthe DigiMaxFS to your
interface,
or clockingthe restof the
systemto the DigiMaxFS' wordclock.
controls(plusthe provision
Front-panel
of BNC word clock sync connectorsat
the rear)makethis easyto set up,
enablingthe DigiMaxFSto fii intoany
digitalproductionenvironment.
TheeightNeutrikcomboinputs
fromthe front panel,
areaccessible
quickand easyaccessto
facilitating
strike
the preampsshouldinspiration
(permanent
wouldentail
installation
drapingcablesto the frontof the rack,
whichmightbe a littleunsightly).
the firsttwo inputsaccept
Usefully,
input,enablingyou to
instrument-level
inputa bassand guitar
simultaneously
via a Dl box,for example.Phantom
poweris alsoavailableacrossinputs
1-4 and 5-8 via the two illuminated
front-panelswitches.
Grabthemic
It's immediately
apparentthatthe Class
A mic preampsin the DigiMdxFS are
arguablysuperiorto thosefoundin the
majorityof audiointerfaces(withthe
possibleexceptionof Mackie'sOnyx
400).What'smore,the gain pots feel
sturdy,withthe clip lightproviding
of levelsbeforethe
someindication
&ffiffi
ffiffiY
ffitr$ffipffiY
& fftuffiK*ffituffi
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ffiffiffiffi
Thisenablesthe DigiMax
connectors.
FS to integratewith a wide varietyof
(including
Digidesign's
audioinierfaces
002,MOTU's828 mkll,and RMEcards)
although,of course,not all intedaces
and audiocardsfeatureADAT
Withthe
as standard.
connections
the
Lightpipeconnectionestablished,
nextpointto consideris clocking-
signal reaches your DAW. However, you
won't find additionalextras such as
pads, bass rolloff or phase inversion,
which are features that often appeal to
those who like to get their recordings
'right'from the source. We also noticed
that the DigiMax FS has slightly less
gain than some of the other preamps in
our studio - something that you might
need to take into considerationif you
intend to use the DigiMax FS for
delicate recordingtasks.
The additionalinputs and outputs
at the rear of the DigiMax FS are a real
bonus for DAW users wanting to
improve connectivitywithin their studio.
The inserts, for example, enable you to
customise the recording path with
hardware compressors and EQs - a
feature that is often omitted from the
input path on a lot of audio interfaces.
Also, by includinga Lightpipe In pod.
the DigiMax FS offers an extra eight
analogue outputs from your DAW,
enablingyou to run more channelsto an
externalconsole,for example.With the
Direct Outputs, you can also use the
DigiMax FS as a conventionalpreamp
without the need for digital inter.facing.
The conversionquality of the unit
feels surprisinglygood given iis price,
and it's clearly helped by the JetpLL
jitter-reductionsystem. Given the
apparent quality of the system, we
would have no qualms running the
DigiMax FS as the master word clock
device with an existing audio interface
and DAW clocked to it. Equally,the
DigiMax FS feels just as comfodable
slaved to an existing digital setup,
clocked either from the ADAT Lightpipe
or the BNC connectors, which can also
be terminated (if the DigiMax FS is on
the end of a daisy-chainedword clock
path) to stabilisethe integrityof the
world clock signal.
TotheMax
The DigiMaxFS is not the only
8-channelpreampon the marketat the
moment,but it standsout thanksto its
connectivity
options.So, whileother
preampsprovidemorein the way of
featuressuch as bass rolloff,pads,
phaseinvedersand so on, the DigiMax
FS puts it eggsfairlyand squarelyin
the 'inputsand outputs'basket.With
ADATconnections
as standard(so
there'sno needto buy an optional
card),inseds,DACOutputsand Direct
Outputs,there'sno reasonwhy the
DigiMaxFS can'i integrateseamlessly
into a wide rangeof studiosetups.
Most importantly,
though,the
DigiMaxFXdeliversexcellentsonic
resultsin one of the mostcrucialpads
of the recordingchain,with solidand
dependableperformance
fromthe
preamps,conversion
and clocking.So,
if yourexistingaudiointerfaceisn,t
makinguseof a Lightpipeconnection
and you feelthat yoursetupneeosa
few moreinputsand outputs,it's well
wodh givingthe DigiMaxFXsome
seriousconsideration.
Em
Measuring
Up
Mackie'sOnyx800(t1,174)illustrates
theadditional
featuresyou
couldenjoybydoubling
yourouflay.
you,llfind0n
lt haseverything
theDigiMax
FS- including
ADAT
interfacing
andflexible
wordclock
- but it alsofeaturesan impressive
configurations
numberof
controlsoneachof its preamps.
What'smore,youalsogetbass
phaseinvertandvariable-impedance
rolloff,
(enabling
options
you
t0 explorea rangeof subiletonalvariations
withyourmicrophones,
alongside
theabiligto decode
anM-Ssignal.
Another
modelto
consideris Focusrite's
Platinum
0ctopre(t749),whichfeatures
compression
andlimiting
onall channels,
although
ADAT
interfacing
is available
onlyasanoptional
(1149).
upgrade
METHOD
SPOT
lf you want to make
useof the oigiMax
FS'highestresolution
samplefrequency96kHz- you'llneedto
doubleyourLightpipe
connections.
with
eachLightpipe
carryingfour
channels
of digital
connectivity.
At
standardsample
rates(44.1kHzor
48kHz,tor example),
thefull eight
channelsare carried
by the first ADAT
Lightpipeconnector.
l
:rli,r:,::
BUYTHISPRODUCT
ATWWW.MUSICTECHMAG.CO.UIUSTORE
Presonus Digimax FS
http://www.soundonsound.com/sos/mar07/articles/digimaxfs....
Presonus Digimax FS : March 2007
In this article:
Construction
Impressions
Alternatives
Presonus Digimax FS
£589
pros
Presonus Digimax FS
Mic Preamp & A-D Converter
Published in SOS March 2007
Reviews : Preamp
Print article : Close window
A useful studio workhorse that does just what it says on the tin.
Very straightforward to use.
Supports 96kHz via S/MUX.
Good sync and word clock
facilities.
Clean mic preamps with line
and instrument options.
Direct analogue outputs and
insert points, as well as eight
balanced DAC outputs.
Universal voltage power
supply.
cons
Maximum mic gain is 55dB
rather than the more usual
60dB.
External PSU less convenient
for mobile use.
summary
The Digimax FS offers good
value for money: you get eight
good-quality mic amps in a
package that's simple to use
and provides eight extra
analogue outputs, as well as
the eight inputs. There's really
not much more you could
reasonably ask for at the
price.
information
£589 including VAT.
Source Distribution +44
(0)208 962 5080
+44 (0)208 962 5050
Click here to email
www.source
distribution.co.uk
www.presonus.com
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Paul White
The problem with audio interfaces, or digital mixers, for that matter, is that
you often run out of input and output (I/O) channels, especially if you need
to record a band with a fully mic'd drum kit. At the same time, making all
users buy more channels than they may actually need risks making the
Photos: Mark Ewing
product too expensive. Many manufacturers have therefore included
ADAT support on their soundcards, so that the I/O can be expanded with separate multi-channel preamps that also
support the ADAT format. ADAT lightpipe can carry eight channels of audio at sample rates of up to 48kHz, or four
channels at up to 96kHz by utilising the widely adopted S/MUX protocol. It is important to note that to use S/MUX,
the interface or mixer to which the Digimax FS is connected must also support the protocol (if you want to know
more about this, you can read Hugh Robjohns' Digital Interfacing article in SOS February 2006).
The simplest way to expand a system that has ADAT connectivity is to add an eight-channel analogue-to-digital
converter, followed by an ADAT-port chip set but, as most recordings are done using microphones, a practical
product really needs to have the mic preamps built in as well. There are several such expansion devices already
available, such as the RME Octamic D, Focusrite's Octopre and Octopre LE (with the optional ADAT card fitted),
M-Audio's Octane and the Behringer ADA8000.
The Presonus Digimax FS follows on from their popular Digimax LT. It offers eight channels of microphone
preamplification routed to an ADAT output, as well as eight channels of 24-bit D-A conversion, fed from the ADAT
inputs. Two sets of ADAT I/O ports (two in, two out) are included to allow the unit to operate in eight channel mode
at up to 96kHz via the S/MUX protocol, but there are also direct analogue outs and analogue insert points available
for each mic channel.
The Digimax FS includes JetPLL jitter reduction that allows the unit to sync to an external clock while at the same
time reducing any jitter in the incoming clock source. This is an important inclusion, as clock jitter (rapid timing
discrepancies caused by clock-frequency instability) — particularly if it lies within the audio frequency range — can
lead to increased noise and distortion, as well as a deterioration in stereo imaging.
Construction
Housed in a 1U rack case and powered from the supplied external power adaptor, the Digimax FS features eight
class-A, balanced mic preamps, for which 48 Volt phantom power can be switched in two independent groups of
four channels. For ease of access, the mic inputs are all on the front panel and utilise Neutrik Combi connectors
that also accept a balanced line-level jack source (high impedance, unbalanced instrument sources on inputs one
and two) in the centre of the socket. All eight insert points are on TRS unbalanced jacks (ring-send, tip-receive, to
carry both the send and return signals on a single socket) on the rear panel, and these allow additional outboard
equipment, such as equalisers, de-essers or compressors, to be inserted into the signal chain prior to A-D
conversion. All eight direct outputs are on balanced TRS jacks, as are the eight DAC outputs that allow the Digimax
FS to provide eight additional line-level analogue outputs from your interface or mixer.
A front-panel switch with associated LED readout selects the internal clock
source rate from 44.1kHz, 48kHz, 88.2kHz and 96kHz, and each of the
preamps has its own rotary gain control with peak overload LED. Further
metering shouldn't be necessary, as the meters in your DAW system will
The rear panel of the Digimax FS. The ADAT
give you an accurate reading of the input level.
By switching to external clock mode, the Digimax FS can lock to an ADAT
source or word clock via the rear-panel BNC word clock connectors. Word
clock in and out sockets are fitted, along with a 75(omega) termination
switch (the last unit in a word clock daisy chain should always be
terminated). The sync switch is illuminated by a coloured LED that shows
blue for BNC sync or red for ADAT sync. In external sync mode, the
sample rate of the source is used. At sample rates up to 48kHz, only the
ADAT I/O ports labelled 1 to 8 are used. In S/MUX mode at 88.2kHz or
96kHz, the first ADAT ports carry channels 1-4 and the second 5-8.
and line outputs can be sent at the same
time, which can be useful for splitting the
signal to make backups.
The rear panel of the Digimax FS.
The ADAT and line outputs can be
sent at the same time, which can be
useful for splitting the signal to make
backups.
The rear panel of the Digimax FS.
The ADAT and line outputs can be
sent at the same time, which can be
useful for splitting the signal to make
backups.
Technically, the mic preamps have a similar specification to what you'd
expect in a well designed mixer or mid-price stand-alone preamp, with
-3dB points at 20Hz and 100kHz and only half a dB down at 40kHz. The
unweighted distortion is a respectable 0.003 percent or better, with an equivalent input noise of -126dB and a
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Presonus Digimax FS
http://www.soundonsound.com/sos/mar07/articles/digimaxfs....
signal-to-noise ratio of better than 101dB. Up to 55dB of mic gain is available — more than enough for most
applications, though a little more might have been useful for working with ribbon mics or other insensitive sources
(a typical stand-alone preamp or mixer preamp has around 60dB of gain). At unity gain, the mic preamps can
handle up to +11dBu, which should be more than adequate for even the hottest mic or DI box signals.
Impressions
As with all Presonus gear, the physical styling is confident without being overly fussy. The gently rounded front
panel is finished in matte silver/grey with all the legends printed clearly in black. The knobs are metal, with an
easy-to-grip splined surface, and all the button switches are illuminated. I'm not a fan of external power supplies,
but they do help to keep the price down and are less of an issue in semi-permanent installations. This PSU also
has the benefit of a locking connector and uses a universal switch mode circuit, allowing it to run from any standard
mains supply worldwide.
Tested with my MOTU 828 MkII, I found that the Digimax FS locked very quickly and positively when used as a
slave, typically taking well under a second to report stable sync. Unplugging and reconnecting the ADAT cable
showed that it was equally happy to recover sync in under one second following a glitch (man-made, in this case!).
The same was true if I switched to another sample rate.
Running the Digimax FS as clock master was equally trouble free, and test recordings showed the mic amps to be
clean, quiet and free from obvious coloration. Subjectively, they seemed quite similar to the preamps in my 828
MkII (at least with my voice and a capacitor microphone), and I've always thought the MOTU preamps worked
pretty well given the price of the unit. There's nothing unusually fancy or esoteric about these preamps, they just do
a good job, though, as I suggested, an extra 5dB of gain may have been useful when working with quieter sources
or insensitive microphones.
I am also appreciative of that fact that the Digimax FS has eight DAC (word clock) outputs as well as mic/line
/instrument inputs. The direct analogue outs from the mic preamps and the pre-converter insert points also add to
the versatility of the unit. These features make it very attractive as an expander to a digital mixer, as well as for
adding more I/O to an existing audio interface.
Perhaps the best way to describe the performance of the Digimax FS is 'predictable'. This isn't a criticism — in fact,
quite the opposite: equipment of this type has a job to do and, if it is correctly designed, it will do that job without
drawing attention to itself. And that's exactly the impression I got from the Digimax FS. You just plug it in and it
works — no hoops to jump though, no clocking tantrums, and a nice clean audio path. Really, there's not a lot more
you can ask for. Having proper word clock facilities, a low-jitter clock and the ability to work at sample rates up to
96kHz just underlines its capability.
Alternatives
There are now several competitors in this category. At the cheaper end of the scale the Alesis AI3 and Behringer
ADA8000 are great value but only operate at up to 48KHz, as does the more upmarket Focusrite Octopre LE (you need
to pay extra for the digital option in the case of the last). M-Audio's Octane is perhaps the nearest in spec to the
Digimax, both in terms of price and S/MUX support. From there, the quality and prices start to climb: the RME Octamic
D and the Focusrite Octopre, with its optional ADAT card installed, are S/MUX compatible and the latter includes a
hardware compressor/limiter on each channel.
Published in SOS March 2007
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