ADI-2/4 Pro SE Discontinued? (Page 5 of 5)

AKM and ESS update like 6 years? which is quite long in electronic world, and it's sure OK to use their last gen or sub-flagships, but not too old or too mid-tier. Call it high-end premium Hi-Fi and pro-audio gear, it deserves some better treat.

Again, it's only about marketing. I agree there's no actual need of those chips for any functionality reasons. I'm not going to argue about if it's actually good idea because it's just a imaginary marketing strategy that can't be testified.

Hi everyone,

I have a couple of questions regarding the upcoming RME ADI-2/4 Pro EX and would really appreciate some clarification:

1. Will it be possible to connect a Technics SL-1210 with Ortofon Concorde 10/20 directly to the ADI-2/4 Pro EX without using an external phono preamp?

2. Are any suitable adapters or cables included, or what would be the recommended way to connect the turntable’s RCA (Cinch) outputs to the ADI-2/4 Pro EX while maintaining signal quality?

3. Since the Technics SL-1210 has a relatively short built-in RCA cable, I would prefer placing the ADI-2/4 Pro EX a few meters away from the turntable. Would this be possible in some way?

4. Would it be possible to use a Neumann MA 1 measurement microphone with the ADI-2/4 Pro EX for room calibration? If so, since the MA 1 requires 48 V phantom power, would an external phantom power supply or microphone preamp be required, and if so, what would you recommend for accurate measurement use?

Thanks a lot in advance for your help!

I'm excited for the ADI-2 Pro EX; It might be time for me to retire my trusty original 2016 ADI-2 Pro and upgrade It is a dream unit for Dialogue Editors like me who switch between listening to audio mastered to 0dB peaks and -8LUFS, film mixes at -2dBTP / -27LUFS, and editing subtle (poorly recorded breaths) at -60dB. The ADI-2 Pro's impeccable gain structure covers it all. The hardware EQ allows me to shape all of my different headphone's sounds, as well as some basic room correction EQ on my main speakers. It really is one of my professional secret weapons. I always shudder a little when I'm at a facility and end up cutting some tracks on (much) lesser interfaces. If the unit had native AES42 as an option on the AES3 input... imagine how good recordings at 192kHz from a Schoeps CDM42 with SteadyClock EX would be...

Yes, because that’s already possible with ADI 2/4 Pro SE.

All that’s needed are inexpensive RCA to TS adapters like these ones.
As long as they are of reasonable quality, read: make secure contact, they don’t have any influence on signal quality:

No, because turntable phone cords in general cannot be extended when MM-pickups are used.
A longer cable’s capacitance would disturb the tuned interaction between the MM-pickup and cable, leading to a treble cut and an upper midrange boost.

If you need a longer cable, the existing one needs to be replaced by an extra-low capacitance one.

Yes, any reasonable P48-supply will do.
Pro-audio shops have these:

https://www.thomann.de/de/millenium_poc … svEALw_wcB

You may provide a link ?

Thank you, very nice

I used to own a few Ayre Acoustics preamps with "Variable Gain Transconductance" circuits that varied GAIN for volume attenuation, and maintained the same S/N performance at all levels - even low. 

The similar feature in the ADI-2 units I found to be very interesting (and desirable), and was a big reason why I wanted to try the units (besides my friend recommending I do). 

I did not use the RME ADI-2 DAC FS, or even the ADI-2/4 Pro SE I bought for quite some time.  Then, I put the ADI-2/4 Pro SE in to compare directly to my much more expensive KX-5 Twenty preamp I was using... and I decided to just stick with the ADI-2/4 Pro SE. 

Take that for whatever it's worth. 

The other thing that IS important to me about the ADI-2/4 Pro SE is the Voltage Output.  I am playing with boutique amps that have very simple gain stages... for low input gain.  There are a few designs that have No Input Gain Stage... they are just an output stage.  All of the gain is supplied by the preamp.

That's a long winded way of ask (and explaining why it's important)... what is the maximum Voltage Output for these new ADi-2 EX units?  They are mentioned as having "Increased Phones output power in unbalanced and balanced mode."

My interest would not be for headphone use... but providing big voltage swing to run low gain input amplifiers in home HiFi. 

And, by the way... if you every decided to put an ethernet plug in one of these and make it compatible with Qobuz Connect, Spotify Connect, etc... you might sell more of them that you can make. Even if you figured out a way to do it via the serial port dongle on the back, via USB-C... anything. You already know how to do software.  That would be a very compelling thing as a true, one box unit.

Thank you.

Thank you.  Although that is great output, the First Watt F4 needs 14.14V RMS single-ended per channel to reach max output.  The amp can be run Mono with BAL input, and also as a stereo unit with SE inputs... various configurations with different voltage needs.  It's a pretty unique thing that does require some special power to run it. 

Not a weakness of the RME here by any means... just a very different kind of use case here. 

A number of other amps I own have rather low input gain (by "normal" standards)... 8dB to 11dB.  The ADI 2/4 Pro SE has zero issues running any of that stuff. 

Very happy with it, and quite frankly, I'm glad to see the new unit doesn't make my 2/4 Pro SE "obsolete". 

However...  an Ethernet input would truly make any of these a Magic Box.  An Ethernet Input would make me spend money.

Immediately.

F4 balanced. The guys in the Pass Forum at diyaudio did just that:

https://www.diyaudio.com/community/thre … as.330789/

As well as many other things. Fun forum to follow along, espc. Zen Mod's endless creativity.