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RME Fireface UCX - USB and FireWire Audio Interface

  • No Longer Available
  • B&H # RMUCX
  • Mfr# UCX B

Product Highlights

  • 18 Input/18 Output Channels
  • 8 Analog Inputs/Outputs
  • 2 Microphone/Line Inputs
  • 2 Instrument/Line Inputs
  • S/PDIF, ADAT, Wordclock, MIDI I/O
  • TotalMix FX with DSP
  • Standalone Operation
  • Includes Basic Remote Control
  • Mac OS X
  • Windows XP/Vista/7

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RME Fireface UCX - USB and FireWire Audio Interface
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The Fireface UCX from RME is a USB and FireWire audio interface that provides a total of 36 channels of audio, and includes digitally controlled high-end preamps, reference class converters and full 192kHz operation. It delivers ultra-low latency operation, combined with exceptional driver stability, and is housed in a compact chassis.

Additionally, the unit includes active jitter suppression, professional reference level support, advanced stand-alone functionality, RME's DIGICheck metering and analysis toolbox, and nearly identical operation and features under both Windows and Mac OS.

TotalMix FX is the redesigned and integrated digital high-end mixer and signal router, driven by two powerful DSP processors, with integrated EQ, dynamics and reverb/echo effects, plus built-in monitoring control. The feature set is complemented by extraordinary usability.

General
  • Low-latency mastering grade converters with outstanding specifications
  • Two microphone preamps with technology from RME's high-end Micstasy and UFX, including AutoSet overload protection
  • Newly developed Hammerfall audio core, supporting USB and FireWire with maximum performance and ultra-low latency operation, combined with RME driver stability and maintenance on both bus protocols
  • TotalMix FX with the complete Fireface UFX DSP engine, including all effects up to 192kHz
  • Monitoring Controller combines the flexibility of the TotalMix FX monitoring tool set with the included RME Remote Control
  • DIGICheck metering and analysis toolbox for Windows and Mac
  • Support for RME's Advanced Remote Control, active jitter suppression technology, professional reference level support, advanced stand-alone functionality, full 192 kHz operation, and high-speed MIDI I/O
  • Class Compliant mode works with Apple's iPad, for stereo up to 8 channel recording and playback, and with the addition of professional I/Os
Inputs and Outputs
  • Provides 36 channels of audio - 18 input and 18 output channels
  • All inputs and outputs can be used at the same time
  • Up to 8 analog and 10 digital channels can be recorded onto 18 separate tracks
  • Combines excellent analog circuit design with enhanced 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 114dBA 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
  • All analog I/Os use a low latency converter design with 14 samples delay for the ADC, and 7 samples for the DAC, independent of the used sample rate
  • Every input and output is individually switchable to common professional studio levels: -10 dBV, +4 dBu, Lo/Hi Gain
  • All outputs can be used for ASIO Direct Monitoring purposes
Microphone/Instrument Preamps with AutoSet
  • Two high-end microphone and instrument preamps
  • Preamp design boasts extremely low distortion, excellent signal to noise ratio and a perfectly flat frequency response
  • 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
  • Digitally controlled gain of up to 65dB, adjustable in steps of 1.0dB over a range of 55dB, individually set for each preamp with the encoder knob on the front, or in TotalMix FX on the host computer
  • All level settings are 100% reproducible and can also be adjusted using a MIDI remote controller
  • Each channel can be individually switched to provide +48V phantom power
  • LEDs for signal, clip and activated phantom power give a complete overview on the unit's status The two TRS inputs on the front can also operate as Hi-Z inputs
  • AutoSet's digitally controlled gain can automatically reduce the gain on the microphone preamps, providing perfect protection from overload with no degradation of the audio signal, unlike using an analog limiter which would impact the technical specifications of the preamps and alter the original source
  • AutoSet does not add any control noise imparted by some limiters
  • AutoSet can be switched on for each of the 4 front panel microphone and instrument preamp channels individually
Digital I/O, Wordclock and MIDI
  • Coaxial SPDIF I/O with sample rate support up to 192kHz
  • 8-channel ADAT I/O available simultaneously with the analog channels and can be used to connect an 8-channel AD/DA converter, mixing consoles, or to insert effects devices
  • ADAT I/O support sample rates up to 192kHz (S/MUX4)
  • Using an external converter, the unit will provide 16 analog inputs and outputs, 12 with a sample rate of 96kHz, and 10 at 192kHz
  • ADAT I/O can be used as optical S/PDIF I/O, making the UCX connections even more flexible
  • Wordclock input and output (BNC) with switchable termination plus MIDI I/O on a breakout cable
TotalMix FX
  • DSP-based TotalMix mixer allows fully independent routing and mixing of all 18 input and playback channels to all 18 physical outputs
  • Two DSPs ensure an impressive performance even in extreme applications
  • Up to 9 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 192kHz operation
  • For example, at 48kHz, 36 EQs, 36 Low Cuts, 26 Compressors and Echo can be activated, while with reverb and echo activated, 36 EQs, 36 Low Cuts and 16 Compressors 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 54 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


    • Features/Differences to Classic TotalMix
    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
Monitor Controller
  • Multi-function rotary encoder and the included Remote Control provide a perfect desktop level controller for the main monitors and phones
  • The integrated TotalMix FX mixer provides an impressive set of monitoring control features for modern Mix-In-the-Box studios or live mixing sessions
  • Features include dim, source selection, monitor switching, integrated Talkback, a flexible Cue setup, Mute and Mute FX, Mono, Speaker B switching, and much more
  • The built-in solution preserves the original sound, as the hardware outputs stay directly connected to the studio monitors
  • Any physical output can be assigned to the directly knob-controlled monitor outputs (Main out, Speaker B, Phones 1, 2 ...)
  • Talkback, Listen-back, Mono and Dim functions work automatically for the assigned outputs
  • Cue mixes can be sent to a predefined output and an external input can be assigned and monitored with a simple click
  • The included Basic Remote Control provides one big wheel dial, a button for level storage/recall, and a freely programmable button for nearly all TotalMix FX functions
  • Remote comes with a flexible, 16 ft (5m) cable
USB and FireWire
  • 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
Class Compliant Mode
  • Option to be used as Class Compliant interface, a standard that is natively supported by operating systems like Windows, Mac OSX and Linux
  • No proprietary drivers are required with the device being directly recognized when the CC mode is activated by the front panel button
  • Class Compliant mode allows for connecting to an Apple iPad or iPad2 providing the iPad with the professional analog I/O connections along with all the other features of the interface
  • Instead of using the jitter-prone USB clock, the UCX works with its own internal SteadyClock in clock mode master (asynchronous mode), both during recording and playback, thus achieving the exact same sound quality with an iPad as under Windows and Mac OSX
  • When connected the analog microphone/line input 1 works with mono apps, inputs 1 and 2 with stereo apps (both dual mono and stereo), and all 8 analog inputs with 8-channel applications, like MultiTrack DAW and Music Studio
  • Playback uses analog outputs 1 and 2 with the signal copied to outputs 7 and 8, SPDIF and ADAT, and can be processed independently (volume, EQ, dynamics, FX return)
  • The input signal will pass through all activated functions of the TotalMix FX input channel, namely settings, EQ, and dynamics, and is then sent to the iPad
  • The input fader controls direct monitoring to any output
  • FX send control for echo/reverb is also active
  • The iPad's output signal passes through all activated functions of the TotalMix FX hardware outputs, namely settings, EQ, and dynamics
Additional Features
  • 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 interface 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 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
  • 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 8-channel AD/DA converter, 4-channel microphone preamp, monitor mixer, digital format converter, or analog/digital routing matrix
Drivers
  • Windows XP SP2, Vista and Windows 7 (32- and 64-bit)
  • Apple Mac OS X 10.5 Intel or up (Core Audio)
  • Windows and Mac OS X drivers are completely identical in terms of features and functionality
1
Sample Rate 44.1, 48, 88.2, 96, 176.4 and 192kHz
Connectivity USB 2.0
FireWire 400
Inputs Analog
2 x XLR/TRS Combo Mic/Line(front panel)
2 x 1/4" TRS/TS phone Instr/Line (front panel)
4 x 1/4" TRS phone Balanced Line (rear panel)

Digital
1 x RCA coaxial S/PDIF
1 x TOSLink optical ADAT
1 x BNC Wordclock 1
Please Note:

Switch for Wordclock internal termination 75Ω

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Input Impedance Mic: 2kΩ
Line: 8kΩ
Instr: 470kΩ
Input Level Microphone
+10dBu, gain 0dB
-55dBu, gain 65dB

Line (combo jack)
+21dBu, gain 0dB
-44dBu, gain 65dB

Instrument/Line (front panel)
Instr: -13.5dBu, 10dBV @ gain 12dB
Line: -7.5dBu, 10dBV @ gain 12dB
Instr: +13dBu, lo gain, gain @ 0dB
Line: +19dBu, lo gain, gain @ 0dB

Line
+19dBu, 0dBFS @ lo gain
+13dBu, 0dBFS @ +4dBu
+2dBV, 0dBFS @ -10dBV
Gain Range Microphone
+10dB up to +65dB

Instrument
+6dB
0dB up to +12dB additional gain stage
Outputs Analog
6 x 1/4" TRS phone Balanced Line (rear panel)
1 x 1/4" TRS phone Line/Headphone (front panel

Digital
1 x RCA coaxial S/PDIF
1 x TOSLink optical ADAT
1 x BNC Wordclock
Output Impedance Line: 75Ω
Stereo Monitor Phones: 30Ω
Output Level Line
+19dBu, 0dBFS @ hi gain
+13dBu, 0dBFS @ +4dBu
+2dBV, 0dBFS @ -10dBV
Switchable Output Level: hi gain, +4dBu, -10dBV
MIDI 2 x 5-pin DIN MIDI In/Out on breakout cable
Dynamic Range Output
111dB
114dBA @ 44.1 kHz (unmuted)
THD Input
<-105dB, <0.0005%

Output
<-100dB, <0.001%
THD + N Input
<-98dB, <0.0012%

Output
<-96dB, <0.0015%
Signal to Noise Ratio Input
Mic: 112dB RMS unweighted, 115dBA
Instr: 112dB RMS unweighted, 115dBA
Line: 111dB RMS unweighted, 114dBA
Crosstalk >110dB
Frequency Response Input
10Hz to 20.6kHz, -0.1dB @ 44.1kHz
5Hz to 45.3kHz, -0.5dB @ 96kHz
5Hz to 90kHz, -1.0dB @ 192kHz

Output
5Hz to 20.4kHz, -0.1dB @ 44.1kHz
5Hz to 45kHz, -0.5dB @ 96kHz
5Hz to 90kHz, -1.0dB @ 192kHz
Power Requirements 9 to 18VDC via included 100~240V external power adapter
System Requirements USB: Pentium Core 2 Duo CPU minimum
FireWire: Computer with OHCI compatible FireWire 400 port (1394a) or FireWire 800 port (via adapter cable)
Dimensions 1U half-rack chassis
Weight Not specified by manufacturer
Specialties Mic/Line 1 and 2 low roll off: -0.5dB @ 18Hz, and -1.0dB @ 12Hz
CLIP LED: 0dBFS
SIG LED: -60dBFS
RME Fireface UCX - USB and FireWire Audio Interface
  • External Power Supply
  • 1.8m USB Cable (71")
  • 2.0m TOSLink Cable (79")
  • MIDI Breakout Cable
  • Remote Control
  • Software CD-ROM
  • Two (2) Year Warranty

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