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OVERVIEW:
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 RME has started
shipping its new flagship
interface Fireface UFX.
60 channels of audio!
Digitally controlled
high-end preamps, reference
class converters and full
192 kHz operation.
Ultra-low latency operation
with USB and FireWire,
combined with with the
legendary RME driver
stability and maintenance.
Including active jitter
suppression, professional
reference level support,
advanced stand-alone
functionality, RME's
unique DIGICheck metering
and analysis toolbox and
identical operation on
Windows PC and Mac.
On top of it: TotalMix FX,
the new digital high-end
mixer and signal router,
driven by two powerful DSP,
with integrated EQ, Dynamics
and Reverb/Echo effects up
to 192 kHz plus built-in
monitoring control.
The
full-blown
feature set
is backed up
by
extraordinary
usability.
At its heart
is a bright
multi-functional
colour
display with
full front
panel
metering for
all 60
channels
plus effect
bus, and
complete
control of
all key
features -
directly
from the
front of the UFX.
RME's
new Fireface
flagship is
a highly
integrated
pro audio
solution, a
full-blown
studio
packed in a
19"
enclosure.
An interface
designed for
users who
don't want
to make
compromises
in sound,
stability
and
ultra-low
latency
operation,
and who long
for an
unrivalled
professional
feature set.
Once again a
milestone
interface
from RME,
including
the best of
the best -
and even a
bit more.
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INPUTS and OUTPUTS
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The UFX
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.
| Analog
I/O:
The
UFX
provides
12
analog
I/Os:
12
Inputs. 8
balanced
TRS
on
the
back
and
4
XLR
inputs
with
mic/instrument
preamps
on
the
front.
12
Outputs. On
the
rear:
6
balanced
TRS
and
2
balanced
XLR
-
perfect
for
the
direct
connection
of
the
main
studio
monitors.
On
the
front:
Two
additional
TRS
stereo
phones
outputs
providing
high
volumes
even
with
hi-impedance
headphones
(playback
channels
9/10
and
11/12).
Sound
Quality. When
it
comes
to
sound
quality
and
price
to
performance
ratio
RME
plays
in
its
own
league.
The
Fireface
UFX is
no
exception.
Like
any
other
RME
product
it
combines
excellent
analog
circuit
design
with
high-grade AD/DA
converter
chips.
Therefore
all
balanced
TRS
&
XLR
I/Os
and
both
phones
outputs
guarantee
outstanding
low
noise
and
distortion
values.
In
best
RME
tradition
and
product
philosophy
converters
and
preamps
don't
produce
"sound",
they
do
not
add
or
remove
anything
from
the
source
signal,
just
capture
it
as
it
is. |
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Equipped
with
the
latest
A/D
and
D/A
converter
chips,
all
I/Os
operate
up
to
192
kHz
and
reach
118
dBA
dynamic
range
on
playback
-
even
both
headphone
outputs.
Their
high
power
technology
delivers
high
volume
no
matter
if
high
or
low
impedance
phones
are
used.
The
balanced
analog
inputs
are
based
on
RME's
low-latency
converter
design
from
the
high-end
converter
ADI-8
QS.
The
DA
section
is
based
on
RME's
M-series.
Both
designs
guarantee
excellent
S/N
and
THD specs
across
a
wide
analog
level
range.
Due
to
its
efficient
jitter
reduction,
RME's
superior
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,
HiGain
(equivalent
to
+2
dBV,
+13
dBu
and
+19
dBu
for
digital
full
scale)
-
directly
on
the
device
or
via
TotalMix. The
balanced
XLR
outputs
even
provide
a
level
of
up
to
+24
dBu.
All
outputs
can
be
used
for
ASIO
Direct
Monitoring
purposes.
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Microphone/Instrument Preamps with RME's Advanced
Parallel Conversion technology
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Preamps:
The UFX has
four
high-transparency
preamps backed up by
four stereo
converters with
RME's new parallel
converter
technology.
Microphone and
instrument preamps
of the UFX 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 impresses
with extremely low
distortion,
excellent signal to
noise ratio and a
perfect linear
frequency response.
A premium solution
for transmitting and
amplifying any audio
input truly
unchanged, be it
high-level stage or
typical studio
signals, lower level
and high-impedance
instruments, or
dynamic, condenser
and ribbon
microphones.
The digitally
controlled gain of
up to 65 dB,
adjustable in steps
of 1 dB over a range
of 55 dB, is
individually set for
every preamp by the
display-supported
controls on the
front of the UFX.
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.
The four inputs
on the front use
balanced XLR/TRS
combo sockets and
operate
alternatively as
Hi-Z inputs.
Directly plug in up
to four guitars or
other instruments -
no other hardware
required.
Each channel can
be individually
switched to 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.
Advanced
Parallel Conversion . The four UFX preamps are
feeding not only
four, but eight AD
converters. Every
microphone channel
uses a double,
parallel AD
conversion on two AD
converters at the
same time to reach
exceptional
signal-to-noise
values and a
performance not
available with a
classic converter
design.
The UFX follows RME's
tradition of
providing flexible
and expandable audio
systems. Adding
additional
preamplifiers or
more analog inputs
is easily done via
the dual ADAT
optical I/Os on the
rear.
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TotalMix FX
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The DSP-based
TotalMix mixer allows fully independent
routing and mixing of all 30 input and
playback channels to all 30 physical
outputs. Up to 15 totally independent stereo
submixes plus a comprehensive Control Room
section offer unrivalled monitoring
capabilities and unsurpassed routing
flexibility.
And there
is more: The next generation of TotalMix
delivers hardware mixing/routing with lots
of new features and a highly improved
usability. For a seamless integration of the
new features TotalMix FX has been rewritten
from the ground up.
Every input
and output channel comes with a luxury
feature set, comparable to a full-scale
digital console. The effects per channel
include 3-band parametric EQ, adjustable Low
Cut, Auto Level, Compressor, Expander, MS
Processing and phase reversal. The Reverb
and Echo effects unit is available for all
channels by a stereo send and return bus.
The UFX easily surpasses the competition by
offering all these effects even at 192 kHz
operation.
Two DSPs
ensure an impressive performance even in
extreme applications. As usual with RME,
TotalMix is available with all channels (90)
at all sample rates, completely unlimited.
The second DSP calculates the effects only,
therefore has sufficient resources. For
example, at 48 kHz 60 EQs, 34 Low Cuts and
Echo can be activated. With activated Reverb
and Echo still 46 EQs and 32 Low Cuts are
available. |
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| The FX-DSP uses
automatic overload surveillance. As soon as
no effect can be added anymore 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. This also prevents the
user from destroyed loudspeakers.
The complete
effects section not only adds a lot of
flexibility to the recording chain, but
makes latency burdened software dispensable.
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.
Furthermore
the DSP hardware calculates RMS and Peak
levels for all 90 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. |
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USB & FireWire
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With the
release of the Fireface 800 in 2004 RME stirred up
the FireWire audio market, setting the
benchmarks and providing a superior solution
with a unique feature set. It is no surprise
many customers and testers respect RME as
the reference and technology leader for
FireWire audio interfaces. In 2009 RME
released the Fireface UC, a USB solution
which again provided an exceptional
performance, previously not available from
USB audio interfaces, once more becoming the
technology leader.
The secret of
success: RME is the only manufacturer
not to use a third party USB or FireWire
audio technology, but an own, self-developed
Hammerfall Audio Core with an outstanding
performance and uncompromised pro audio
features.
The Fireface UFX now combines USB and
FireWire, Made by RME, within one interface.
USB 2.0 .
The Fireface UFX has been uncompromisingly
optimized for highest performance under
Windows and Mac OS. It uses a special
customized firmware for every operating
system. Like other RME USB 2.0* interfaces,
the UFX provides revolutionary ultra-low
latencies even with multiple channels.
* The Fireface UFX is compatible to USB 3
chipsets.
FireWire. The completely redesigned FireWire core
provides the UFX with the same
exceptional compatibility and performance as
RME's USB solution. For the first time the
UFX does not have any FireWire chip inside
at all - it's completely programmed into the
FPGA, under direct control of the RME
masterminds, and updated by a simple
firmware update - if ever necessary. This
new technology is even compatible to Agere's
infamous rev. 6 chip - that says it all.
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Usability
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Display . In search of an exceptional usability
experience for the huge feature set, RME
integrates a high-resolution colour display
into the front panel. In combination with
three rotary encoders all important features
of the UFX can be manually controlled
directly on the UFX itself. TotalMix,
connected PC or Mac, is synced to the
interface controls and follows all changes
automatically.
Smart control . The four keys, the two encoders 1 and 2, the
high-resolution and clear colour 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.
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Additional Features
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SteadyClock . RME's unique jitter suppression technology
guarantees perfect sound quality throughout,
making the device completely independent
from the quality of external clock signals.
Due to the highly efficient jitter
reduction, the UFX converters operate
independently from the quality of the
external clock signal, as if they are
working with internal clock all the time -
guaranteeing a prestine sound quality!
SteadyClock allows the Fireface UFX to
control the sample rate freely on its own.
The settings dialog includes a direct choice
of the video and audio world's most often
used sample rates.
ICC . 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. Other renowned RME
technologies like SyncCheck offer a quick
detection of clock problems.
DIGICheck . The UFX
comes with RME´s 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.*
Power supply . The
specially developed, internal hi-performance
switch mode power supply lets the UFX
operate in the range of 100V to 240V AC,
thus it can be operated all over the world.
It is short-circuit-proof, has an integrated
line-filter, is fully regulated against
voltage fluctuations, and suppresses mains
interference.
Stand Alone Operation with Setup
Recall . Using the three rotary
encoders and the clear colour display the
Fireface UFX can be configured and set up
completely at the device. Additionally
internal memory allows for the permanent
storage of six different states of the unit.
Therefore the Fireface UFX is able to
operate fully stand-alone, without any
connected computer. In stand-alone operation
it can transform into totally different
devices by the simple click of a button.
Furthermore, in this mode TotalMix FX can
also be controlled via MIDI. Application
examples include: 12-channel AD/DA
converter, 4-channel mic preamp, monitor
mixer, digital format converter,
analog/digital routing matrix.
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Drivers
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- Windows 7 / Vista / XP SP2
(32 & 64 bit)
- Apple Mac OS X 10.5 or up
(Core Audio)
Windows and Mac OS X drivers are
completely identical in terms of features
and functionality.
*Some features in DIGICheck are not yet
available in the Mac version.
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Technical
Specifications
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AD, Line
In 1-8, rear
Signal to Noise ratio
(SNR): 110 dB RMS unweighted, 113 dBA
Frequency response @ 44.1 kHz,
-0.1 dB: 5 Hz - 21.5 kHz
Frequency response @ 96 kHz,
-0.5 dB: 5 Hz - 45.5 kHz
Frequency response @ 192 kHz, -1
dB: 5 Hz - 66.5 kHz
THD: < -110 dB, <
0.00032 %
THD+N: < -104 dB, <
0.00063 %
Channel separation: >
110 dB
Input: 6.3 mm TRS jack,
electronically balanced
Input sensitivity switchable to Lo Gain, +4 dBu, -10 dBV
Input level for 0 dBFS @ Lo
Gain: +19 dBu
Input level for 0 dBFS @ +4 dBu: +13 dBu
Input level for 0 dBFS @ -10 dBV: +2 dBV
Microphone In 9-12, front
As AD, but:
Input: XLR, electronically
balanced
Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
Gain range: 65 dB
Maximum input level, Gain 0 dB: +12 dBu
Instrument In 9-12, front
As AD, but:
Input: 6.3 mm TS jack, unbalanced
Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
Gain range: 55 dB
DA, Line
Out 3-8, rear
Dynamic range (DR): 115 dB RMS unweighted, 118 dBA
Frequency response @ 44.1 kHz,
-0.5 dB: 5 Hz - 22 kHz
Frequency response @ 96 kHz,
-0.5 dB: 5 Hz - 34 kHz
Frequency response @ 192 kHz, -1
dB: 5 Hz - 50 kHz
THD: -104 dB, < 0.00063
%
THD+N: -100 dB, < 0.001
%
Channel separation: >
110 dB
Output: 6.3 mm TRS
jack, servo-balanced
Output impedance: 75
Ohm
Output level switchable Hi Gain, +4 dBu, -10 dBV
Output level at 0 dBFS @ Hi
Gain: +19 dBuB
Output level at 0 dBFS @ +4 dBu: +13 dBu
Output level at 0 dBFS @ -10 dBV: +2 dBV
DA -
Stereo Monitor Output XLR (1-2)
As DA, but:
Output: XLR, balanced
Output level switchable 24 dBu, Hi Gain, +4 dBu, -10 dBV
Output level at 0 dBFS @ 24 dBu: +24 dBu
DA -
Stereo Monitor Output Phones (9-12)
As DA, but:
Output: 6.3 mm TRS stereo jack, unbalanced
Maximum output level at 0 dBFS,
High: +13 dBu
Maximum output level at 0 dBFS,
Low: +2 dBV
Output impedance: 30
Ohm
AES/EBU
XLR,
transformer-balanced, galvanically
isolated, according to AES3-1992
ADAT
Optical
4 x
TOSLINK, format according to Alesis
specification
Standard: 2 x 8
channels 24 bit, up to 48 kHz
Double Speed (S/MUX): 2
x 4 channels 24 bit 96 kHz
Quad Speed (S/MUX4): 2
x 2 channels 24 bit 192 kHz
Word
Clock
BNC,
switch for internal termination 75 Ohm
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Optional Add-Ons
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Hardware Remote
Monitor Control (same as used by ADI-8 QS) |
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