The RPM 88, RPM 44, and RPM 22 are 100% drag and drop configurable DSP-based devices, set up and controlled using Rane's new Drag Net software. Industry standard 10Base-T Ethernet is used to communicate between Drag Net devices and any Ethernet-equipped PC running Microsoft Windows. Drag Net offers the ultimate in signal processing flexibility, allowing you to draw the system you need without signal flow restrictions. Familiar Windows file management tools and Shortcuts are incorporated into Drag Net, allowing complete project management within a single interface.

The RPM 22 provides two balanced, studio-grade analog inputs (selectable mic or line level), and two balanced analog outputs. The RPM 88 and RPM 44 offer the same high-quality analog I/O, in 8 and 4 channel configurations respectively. A two-channel AES3 digital input and two-channel AES3 digital output are also provided on each, making the RPM 22 a true 4-input, 4-output device. All I/O, including the AES3 I/O, has its own, 100% user-defined signal processing path. The RPM's analog inputs feature software-controllable mic preamps with an equivalent input noise (EIN) of -128 dBu, satisfying even the most demanding audio applications.

Cost-effective end user control is possible using optional Rane accessories in conjunction with the RW 485 Remote Interface Port and Versatile Input and Output logic Ports. Whether your application requires contact closure Preset recall, remote level control using a potentiometer on a wall, or multi-zone source selection and smart, reconfigurable volume controls, Drag Net and the RPM 22 keep the user interface easy and inexpensive.

Euroblock connectors are provided for audio I/O, logic I/O and the RW 485 port. Grounding screws for direct connection to the metal chassis are provided for solving EMI problems due to shield wiring. Also found on the rear panel are standard XLR-type connectors for the AES3 I/O, an RJ-45 Ethernet connector for computer control and an IEC AC power input.

All DSP algorithms are not created equally and textbook DSP algorithms miss the mark where the rubber meets the road. Rane's team of audio-savvy DSP mathematicians -- a rare breed itself -- in conjunction with our industry-leading analog signal processing gurus have combined forces to offer superlative digital and analog audio performance. With 24-bit converters, greater than 106 dB throughput dynamic range and double-precision 48-bit internal DSP 'math,' the RPM 22 offers the best DSP algorithms and audio performance available. These ain't no Internet appliances! For example, the RPM 22's 200 MIPs translate into 125 fully parametric EQ filters, should you need multiple 15 band parametrics and nothing else.

Multiple units are controlled from a single computer using low-cost Ethernet switches. The recessed Default button on the rear panel recalls Preset 1 in case of communications failure. The front panel has three-segment LED meters for each input and output, allowing fast and intuitive signal flow verification without a computer. Control Port, Power, Ethernet and Status indicators are also on the front panel. Powered from an internal UL recognized, CSA and CE certified power supply, the RPM 22 is compatible with any installation mandating agency compliance.

The right tool for the right job
We all know how important the right tool is to the timely and efficient completion of any project. That is why Rane Corporations engineers have chosen a fixed-point digital signal processor solution for the RPM series of products. Fixed-point has many advantages over floating point in audio applications, but is clearly superior because its not restricted to 24 bit precision. Due to limitations of the state of the art, when double precision is required for more complex calculations such as low frequency filters and dynamics processors the only choice is the fixed-point implementation. The double precision 48-bit capabilitiy of the fixed-point processors Rane uses offers higher resolution and greater accuracy than the single precision 24-bit* limitation of currently available floating point processors.

*Current floating-point processors commonly used in audio products provide a total of 32 bits. Only 24 of those are used for audio processing. The remaining 8 bits are used to determine the "window" inside which the actual processing occurs.