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

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

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

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

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

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

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

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

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

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

Related Questions and Answers

Q: 1. I know there doesn't seem to be any way to turn off the phantom pass through. Can you use this on dynamic mics like the Shure SM7b without any problem? Thanks.

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

Q: 2. When using a FetHead with phantom power can it be left in a constant on condition 24 hours and seven days a week? Is this advisable?

A: The TRITON AUDIO FetHead Phantom In-Line Microphone Preamp can be left on 24 hours 7 days a week. But I don't think it's advisable. You may shorten it's lifespan by doing so.

Q: 3. The rode NTG-2 has can power itself with a AA battery. Will that battery power transfer also the this Fethead or must the Fethead power come from the recorder? I would like to plug NTG-2/Fethead combo directly into mirrorless camera.

A: No, the battery power for the NTG-2 will not also power the TRITON AUDIO FetHead Phantom In-Line Microphone Preamp.

Q: 4. Which version is better for ribbon microphones and ZOOM H6 recorder (with a phantom power on board)?

A: The FedHead Regular. Does not pass phantom to the ribbon microphone, and uses the phantom onboard the ZOOM to give gain to the ribbon mic.

Q: 5. Does the RME QuadMic II 4-Channel Microphone Preamp include an external AC to DC power supply?

A: According to the published specifications in the Owner's manual (page 25), the RME QuadMic II features a power supply that is internally switching, 100-240V AC, 20 Watts.

Q: 6. Can this be used with an unbalanced stereo mic? Considering purchasing this to shield my AT2022 from phantom power but that mic outputs stereo on XLR.

A: sorry can't help with that one - i don't have a stereo mic so wouldn't know. fethead works great with my ribbon & SM7 though. try manufacturers (Triton Audio). good luck!

Q: 7. Is this the correct Fethead for the Deity S-Mic 2S? Or should I be getting the regular Fethead? (The S-Mic 2S is a phantom powered mic, but even still this isn't clear).

A: This is the correct model.

Q: 8. Will the Sony ECM-44B - Omnidirectional Lavalier Microphone work with the FetHead Phantom?

A: Sorry, I just don't know.

Q: 9. Hello,According to Sure all of their dynamic microphones are unaffected and will not cause damage or cause poor performance if phantom power is used. Also other sources state if a dynamic mic is newer and or balanced it can be used with phantom power. I have both dynamic (Sure) and condenser mics. Will a dynamic mic damage the Fethead Phantom or will it cause poor audio performance while used with dynamic mics? Thank you and have a great day,McCoy

A: As you know the Fethead Phantom passes phantom power through to the microphone after it uses a portion of it for its own operation. I oubt that a dynamic microphone will damage the Fethead Phantom. However, the impedance of the Fethead Phantom I believe is different than the standard Fethead as it was designed for low impedance condenser mics. The regular Fethead has an impedance of 22K ohm whereas the Phantom version is lower (I believe around 1K). So if you are using a high impedance dynamic mic with the Fethead Phantom the audio performance may be affected. However, a competitor of the Fethead, the Cloudlifter is around 3K, considerably lower than the regular Fethead. I purchased the Phantom version for use with condenser mic and have a different product for my dynamic mics. But I would not be concerned to try Fethead Phantom with my dynamic mics. One issue I had with the Phantom (a few others have reported it as well) is that with one of my condenser mics (none of the others) it was picking up signals from a local radio station. I spent a considerable amount of time trying to discover why this was happening as normally that was not an issue with that mic. I ended up adding a Sescom inline RF filter (SES-Inline-EMCM) at the end of the XLR cable before it goes into the mixer. This worked very well and eliminated all the RF signal. And in fact I found I could attach the Fethead Phantom to the Sescom adapter without any issues. Normally Triton recommends that the Fethead is attached directly to the mic connector. I hope the above helps.

Q: 10. Will this lower noise with a Zoom H6 and NTG4 Plus?

A: If the noise you are experiencing is from having to turn up the gain on the mic pre amp of the Zoom H6, then this would help, by providing a dB boost. But you should not have to turn up the gain too much with a condenser mic such as the NTG4 Plus. If this is not the cause of the noise, then you may want to upgrade to a recorder with higher quality mic pre amp's, such as the Sound Devices MixPre-6 II 6-Channel / 8-Track Multitrack 32-Bit Field Recorder, BH #SOMIXPRE6II.