The ProAudio 16RS is a new version of our ever-popular ProAudio 16 audio matrix switch, with the added flexibility of supporting 8 digital inputs located up to 200m away (Remote Source) over a Cat5e/6 cable.
The ProAudio 16RS DSP Pre-Amp Audio Matrix features 48 audio inputs alongside 16 analogue outputs and 16 digital outputs, enabling simultaneous audio distribution to multiple zones. Each output zone can be enhanced with built-in features including 5-band equaliser on each zone, adjustable volume and gain settings, subwoofer control, serial and TCP/IP control, lip sync delay and much more.
ProAudio has been designed for the custom install AV market, in many cases the need for an audio receiver can be eliminated by using the audio features of the ProAudioTM Series.
16x Stereo L/R Inputs
16x Digital Coax Inputs
8x Optical Inputs
8x CAT5e (Remote Source) Inputs
Extension of digital audio up to 200m, from a Remote Source.
16x Stereo L/R Outputs
16x Digital Coax Outputs
1x RS232 Serial
8x Audio Extender Transmitters Included in the Kit
Pulse-Eight’s ProAudio™ range of DSP preamp audio matrices offers innovative features and unmatched capabilities within the range. Designed exclusively by our own engineering team, the ProAudio™ systems are a versatile and cost-effective multi-zone audio system.
The ProAudio™ series provides maximum sound control including bass, treble and a 5 band graphic equaliser available for each zone. Audio and tone control is adjustable in 0.5dB steps, and all allow direct or relative adjustments (Ex: Set the volume to an absolute -12.5dB, or increase it by 3.0dB). The tone controls have a range of +/-20dB.
To balance the different levels of audio coming from different pieces of equipment, each audio input has a full range gain adjustment. The adjustment range is: +24dB to -99.5dB, or full mute, in 0.5dB increments.
With low pass and high pass filter settings adjustable from 50Hz to 300Hz, selectable 12db/24db per octave slope with Butterworth or Linkwitz-Riley filters and selectable polarity for each zone, the ProAudio provides easily adaptable subwoofer control.
The doorbell connections on the reverse of the system provides the ability to connect doorbell/pager inputs to any output zone and to automatically lower the current volume and push through the doorbell/pager signal. This can also be adapted for fire/evacuation messages.
For the extreme in ultra-quiet audio and lowest possible distortion, by mirroring the analogue outputs to the digital outputs, you can input and output digital audio, completely bypassing the analogue sections. No extra conversions are required and you still have volume, balance, bass, treble and 5 band equaliser controls.
It makes no difference whether your audio comes in through the analogue inputs, digital coax inputs or digital optical inputs, all inputs can be converted to analogue to provide full flexibility.
Note: The ProAudio™ does not down convert DTS or 5.1 Dolby audio. When DTS or 5.1 Dolby audio is detected, it is passed straight through from the digital coax input to the digital coax outputs. Analogue inputs cannot be directly converted to digital outputs. To convert analogue to digital, a digital output can mirror an analogue output.
Available through the TCP/IP port or the RS-232 port, our K.I.S.S.™ is one of the easiest to use, serial port protocols, on the market. Yet the extensive bi-directional command set allows total control over the ProAudio.
How frustrating is it when your product arrives from a manufacturer with no rack ears? All Pulse-Eight’s professional systems ship with the rack ears integrated into the product or with removable ears. Unpack and install directly into the rack.
When moving audio around, lip sync can often be an issue. Within each ProAudio system, we provide up to 170ms of lip sync delay so that your audio/video matchup doesn’t look like a 1950’s Godzilla movie.
Lock as many output zones as you wish to create a group of outputs that all automatically switch simultaneously to the same input source.
For hallways, and outdoor speakers, where stereo is not particularly useful, each zone can be mixed from stereo to mono using a variety of different methods.