RME FireFace UFX - USB and FireWire Audio

• Provides 60 channels of audio - 30 input and 30 output channels
• All inputs and outputs can be used at the same time
• Up to 12 analog and 18 digital channels can be recorded onto 30 separate tracks
• Combines excellent analog circuit design with high-grade AD/DA converter chips
• All balanced TRS and XLR I/Os and both phones outputs guarantee low noise and low distortion values
• The preamps don't produce "sound" - they do not add or remove anything from the source signal, just capture as is
• All I/Os operate up to 192kHz and reach 118dBA dynamic range on playback - including both headphone outputs
• High power technology delivers high headphone volume no matter if high or low impedance phones are used
• Due to its efficient jitter reduction, RME's SteadyClock finalizes the state-of-the-art AD/DA conversion, even when clocking to an external digital source
• Every input and output is individually switchable to common professional studio levels: -10 dBV, +4 dBu, Hi Gain (equivalent to +2dBV, +13dBu and +19dBu for digital full scale) - directly on the device or via TotalMix
• The balanced XLR outputs provide a level of up to +24dBu
• All outputs can be used for ASIO Direct Monitoring purposes

   

• Analog I/O
  1. 12/12 @ 44.1/48kHz
  2. 12/12 @ 88.2/96kHz
  3. 12/12 @ 176.4/192kHz

   

• AES/EBU I/O
  1. 2/2 @ 44.1/48kHz
  2. 2/2 @ 88.2/96kHz
  3. 2/2 @ 176.4/192kHz

   

• ADAT I/O
  1. 16/62 @ 44.1/48kHz
  2. 8/8 @ 88.2/96kHz
  3. 2/2 @ 176.4/192kHz

   

• Total I/O
  1. 30/30 @ 44.1/48kHz
  2. 22/22 @ 88.2/96kHz
  3. 18/18 @ 176.4/192kHz

• Premium solution for transmitting and amplifying any audio input unchanged, be it high-level stage, or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones
• Four high-transparency preamps backed up by 4 stereo converters using RME's parallel converter technology
• Every microphone channel uses a double, parallel AD conversion (the 4 preamps are feeding 8 AD converters at the same time) to reach exceptional signal-to-noise values and a performance not available with a classic converter design
• Microphone and instrument preamps use the core technology from RME's Micstasy, a high-end preamp for supreme sonic demands and critical applications, like the professional recording of classical concerts
• The fully symmetrical preamp design delivers extremely low distortion, excellent signal to noise ratio and a perfect linear frequency response
• Digitally controlled gain of up to 65dB, adjustable in steps of 1dB over a range of 55dB, is individually set for every preamp by the display-supported controls on the front panel
• All level settings are 100% reproducible and can also be adjusted comfortably within the TotalMix software on the host computer or by a MIDI remote controller T
• he 4 inputs on the front use balanced XLR/TRS combo sockets and operate alternatively as Hi-Z inputs- directly plug in up to 4 guitars or other instruments
• Each channel can be individually switched for +48V phantom power or instrument level
• LEDs for signal, clip, TRS operation and activated phantom power give a complete overview on the unit's status
• Adding additional preamplifiers or more analog inputs is easily done via the dual ADAT optical I/Os on the rear

• Professional AES/EBU input and output working up to 192kHz on transformer-balanced, galvanically isolated, according to AES3-1992
• Two, 8-channel ADAT I/Os (16 channels) available simultaneously with the analog channels and can be used to connect two, 8-channel AD/DA converters, mixing consoles, or to insert effects devices
• Both I/Os support sample rates with up to 192kHz (S/MUX4)
• Using two external converters, the unit will provide 28 analog inputs and outputs, 20 with a sample rate of 96kHz, and 16 at 192kHz
• The second ADAT I/O can be used as optical S/PDIF I/O, making the UFX connections even more flexible
• Wordclock input and output (BNC) with switchable termination plus two MIDI I/Os complete the I/O list and turn unit into a professional audio system with universal usability

Features/Differences to Classic TotalMix

• DSP-based TotalMix mixer allows fully independent routing and mixing of all 30 input and playback channels to all 30 physical outputs
• Two DSPs ensure an impressive performance even in extreme applications
• Up to 15 totally independent stereo sub-mixes, plus a comprehensive Control Room section, offer unrivalled monitoring capabilities and routing flexibility
• Every input and output channel comes with an extensive feature set, comparable to a full-scale digital console.
• Effects per channel include 3-band parametric EQ, adjustable low-cut, auto level, compressor, expander, MS processing and phase reversal.
• Reverb and echo effects unit is available for all channels via a stereo send and return bus.
• All effects available even at 192 kHz operation
• For example, at 48kHz, 60 EQs, 34 low-cuts and echo can be activated, while with reverb and echo activated, 46 EQs and 32 low cuts are still available
• The FX-DSP uses automatic overload surveillance - as soon as no more effects can be added, the TotalMix surface will clearly signal this condition
• When changing to higher sample rates the UFX automatically deactivates all effects that exceed the DSP's performance - the DSP will never be overloaded
• The complete effects section not only adds a lot of flexibility to the recording chain, but makes latency burdened software obsolete
• TotalMix can easily replace any external mixer, e.g. to create different latency-free monitoring mixes with EQ and reverb for the main studio monitors, and the headphone of the vocalist(s) in the recording chamber
• The DSP hardware calculates RMS and Peak levels for all level meters, so there is zero CPU load on the host
• The main functions of TotalMix can be remote controlled via MIDI with any Mackie Control compatible controller

   

  1. New design and improved usability
  2. Improved Control Room section for the main output (studio monitors) and phones
  3. Cue for quick listening to other outputs
  4. Separated monitor panel
  5. Four mute, solo and fader groups each
  6. Switchable mono and stereo channel view
  7. New channel options - stereo width, MS processing, phase L/R
  8. Trim Mode adjusts the volume for all routed signals of a channel - this option allows you to modify the volume of all sends of a channel simultaneously
  9. Unlimited Undo and Redo
  10. One send bus for every input/playback channel with reverb/echo
  11. Expandable channel view for channel settings, EQ and dynamics setup
  12. Slim channel mode for selected or all channels, to save space or give a meter bridge view
  13. 2-Row Mode reduces the height of the mixer to two rows for smaller displays
  14. Extended Matrix window with mono/stereo mode, undo/redo, display of phase and mute

• The UFX is not only a perfect desktop level controller, but a monitor switcher and source selector with integrated talkback function for modern "mix-in-the-box" studios
• As the UFX includes the usually externally added monitoring controller, it also preserves the original sound, as its hardware output stays directly connected to the studio monitors.
• A big rotary encoder on the front of the unit maintains precise control of the three dedicated stereo monitor outputs - main out, phones 1 and phones 2
• Turning the volume encoder displays the current gain value in big numbers
• The small encoder buttons provide direct access to pan and reverb for the selected output
• The gain (volume) settings work hand in hand with the Control Room section of TotalMix FX
• Any physical output can be assigned to the 3, directly knob-controlled monitor outputs - e.g., assign the AES/EBU output as the main out or as phones out, or to any other output
• Talkback, listen-back, mono and dim work automatically for the assigned outputs
• Includes a connector for an optional RME hardware remote, with controls for volume, dim, level storage and recall

• The UFX Combines USB and FireWire within one interface
• RME does not use third party USB or FireWire audio technology, rather their own, self-developed Hammerfall Audio Core that provides outstanding performance and uncompromised pro audio features
• USB 2.0 optimized for highest performance under Windows and Mac OS, using special customized firmware for every operating system
• Delivers ultra-low latencies even with multiple channels
• Compatible with the USB 3 chipsets
• There is no FireWire chip inside the unit - the controller is completely programmed into the FPGA, capable of being updated by a simple firmware update if necessary
• The completely redesigned FireWire core provides the UFX with the same exceptional compatibility and performance as RME's USB solutions

• High-resolution color display is integrated into the front panel for exceptional usability experience
• All important features of the unit can be manually controlled directly on the UFX itself using the 3 rotary encoders
• When connected to a PC or Mac, TotalMix is synced to the interface controls and follows all changes automatically
• The 4 keys, the 2 encoders, the high-resolution and clear color display, and a well thought-out menu structure enable the user to quickly change and configure all the device's settings, even without a computer
• Help notes and clear markers in the display guide the user through all functions

• SteadyClock, RME's unique jitter suppression technology guarantees perfect sound quality throughout, making the device completely independent from the quality of external clock signals, and allows the Fireface UFX to control the sample rate on its own
• Settings dialog includes a direct choice of the most often used video and audio sample rates Intelligent Clock Control not only displays every clock status, but will also retain the last valid input sample rate in case of failure of the external source
• SyncCheck offer a quick detection of clock problems
• DIGICheck is a unique software tool box for metering, testing, measuring and analyzing digital audio streams - it provides a multi-track recorder, calculates the level meters peak and RMS in hardware and is able to analyze and display playback data from any software, no matter which format the software uses
• Internal switch mode power supply allows the unit to operate in the range of 100 to 240VAC, and is short-circuit-proof, has an integrated line-filter, is fully regulated against voltage fluctuations and suppresses mains interference
• Using the3 rotary encoders and the clear color display, the interface can be configured and set up for use as a standalone operation with setup recall
• Additionally internal memory allows for the permanent storage of 6 different states of the unit
• When operating standalone, the unit can be transformed into totally different devices by the simple click of a button - examples include a 12-channel AD/DA converter, 4-channel microphone preamp, monitor mixer, digital format converter, or analog/digital routing matrix
• In standalone mode, TotalMix FX can still be controlled via MIDI