Thunderbolt technology and USB 3 — You name it, you connect it
Its flexibility in connectivity and expansion is unrivalled – Analog, ADAT, MADI, AES, SPDIF. USB 2, USB 3 and Thunderbolt technology are standard on the Fireface UFX+. The UFX+ has an impressive channel count: 12 analog + 16 ADAT + 2 AES + 64 MADI = 94 channels input plus output = 188 channels in total. Thunderbolt technology gives the Fireface UFX+ real PCI Express audio performance under Mac and Windows, with lowest latency, lowest system overhead and lowest CPU load. The Fireface UFX+ is fully Thunderbolt technology compatible under Windows, including hot-plugging.
All new AD/DA converters, optimized analog I/O circuits, as well as improved SNR and THD values guarantee pristine, crystal clear and transparent audio. A new PAD-free mic circuit design with +18 dBu maximum input level and 75 dB gain range serves even the most critical recording situation and source trouble-free.
New low impedance Hi-Power phones outputs (2 Ohms) with +19 dBu maximum output level provide ample output power as well as volume on any phones, high or low impedance.
High-End Converter with low latency Design
In doing this the Fireface UCX marks a new packing record: 300 electronic components more than inside the already well-stocked Fireface UC! In a tremendous effort RME packed once again all the latest technologies, introduced with the award winning flagship UFX, plus a bunch of newly developed ones, into a half 19 inch housing with full mobile usability.
The result is an awesome combination of RME’s most successful products: Fireface UFX, Firefaces UC/400 and Babyface. The Fireface UCX is not just a smaller version of the smash hit UFX, with the HFX-core, the preamps and the complete effects engine. The UCX continues the tradition of RME’s tremendously successful compact interfaces, and combines it with the Babyface’s usability through the optional RME remotes.
TotalMix FX includes a complete effects system: EQ, Reverb, Dynamics & Delay
Comprehensive MADI Connectivity
The Fireface UFX+ opens the doors to a host of RME and 3rd party digital and analog I/O solutions. Expanding your analog channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.
To further enhance MADI flexibility, the Fireface UFX+ boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analog plus 16 ADAT plus AES), the MADI I/O is still available via RME’s integrated hardware mixer TotalMix FX. Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.
Quality over quantity
The UCX provides two high-end mic and instrument preamps — built right into the front.
Like the famous UFX ones, both preamps use core technology of RME’s Micstasy. A high-end preamp for supreme sonic demands and critical applications, like professional recordings of classical and acoustic music. The outstanding preamp design boasts extremely low distortion, excellent signal to noise ratio and a perfectly flat frequency response. A premium solution for transmitting and amplifying any audio source 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 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 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 will alternatively operate as Hi-Z inputs. Directly plug in up to two guitars or other instruments — no other hardware is required.
AutoSet
The UCX offers a unique RME feature which was previously available only in the high-end microphone preamp Micstasy and the UFX. Usually a limiter is used during the recording to prevent clipping of the A/D converter stage. But analog processing would not only spoil the excellent technical specifications of the UCX mic preamps but also alter the original sound.
Thanks to digitally controlled gain the UCX can reduce the gain automatically, thus providing perfect protection from overload with no degradation of the audio signal, which does not have to pass any additional electronic circuitry. Additionally AutoSet does not cause any of the control noises known from usual limiters. SNR and THD stay completely unchanged.
Example: In a recording session, the recording engineer asks the vocalist or guitarist to sing or play a reference part and sets the UCX preamp gain to an unusual high level (e. g. 50 dB). AutoSet will automatically reduce the gain when the level reaches -6 dBFS. The reduction is done in a musical way, based on the intensity and duration of the input signal. Manual gain adjustment becomes obsolete most of the time, but the gain can still be set manually. AutoSet can be switched on for each of the 4 front panel mic and instrument preamp channels individually.
With the Fireface UCX RME reinvented an already perfect product, by improving existing features and characteristics plus adding sophisticated new ones:
- Low Latency mastering grade converters with outstanding specifications.
- Two mic preamps with the premium technology from RME’s high-end recording bestsellers Micstasy and UFX, including the AutoSet overload protection.
- A newly developed Hammerfall audio core, supporting USB and FireWire with the maximum performance and ultra-low latency operation, combined with the legendary RME driver stability and maintenance, on both bus protocols.
- TotalMix FX with the complete Fireface UFX DSP engine, including all effects up to 192 kHz.
- Monitoring Controller: combining the impressive flexibility of the TotalMix FX monitoring tool set and the optional RME Remote Control.
- RME’s unique DIGICheck metering and analysis toolbox for Windows PC and Mac.Plus support for RME’s Advanced Remote Control, active jitter suppression technology, professional reference level support, advanced stand-alone functionality, full 192 kHz operation, and last but not least two high speed MIDI I/Os.
- On top of it: The Fireface UCX is the first professional audio interface with Class Compliant mode to work with Apple’s iPad, for perfect stereo up to 18 channel recording and playback, and the addition of truly professional I/Os.
So the UCX is a half rack unit, which is actually more powerful, than most 19 inch units. All in all the Fireface UCX is the new compact-sized dream interface, created with care for every detail, and a new premium solution for any desktop and live usage, without compromises in sound, stability and ultra-low latency operation.
Inputs and Outputs
The UCX provides 36 channels of audio — 18 I/Os. All channels can be used at the same time. Up to 8 analog and 10 digital channels can be recorded onto 18 separate tracks. All outputs can be used for ASIO Direct Monitoring purposes.
Available I/O (channels) with different Sample Rates:
| Sample Rate | Analog | SPDIF | ADAT | Total In/Out |
| 44.1/48 kHz | 8/8 | 2/2 | 8/8 | 18/18 |
| 88.2/96 kHz | 8/8 | 2/2 | 4/4 | 14/14 |
| 176.4/192 kHz | 8/8 | 2/2 | 2/2 | 12/12 |
8 Inputs
On the rear: 4 balanced TRS. On the front: 2 XLR inputs with Mic/Line preamps (65 dB Gain) and 2 Hi-Z capable TRS Line/Instrument inputs..
8 Outputs
On the rear: 6 balanced TRS outputs. On the front: One additional TRS stereo phones (playback channels 7/8). The high power phones output offers high volumes even with high-impedance headphones.
Sound Quality
Equipped with a new 2011 A/D and D/A high-performance converter design all I/Os operate at up to 192 kHz. The AD/DA conversion supersedes the outstanding technical specifications of the Fireface UC/400 with an impressive 114 dBA dynamic range on both record and playback. The advanced multi-bit converter architecture guarantees excellent S/N and THD specs across a wide analog level range. In the best RME tradition and product philosophy, the UCX converters and preamps have no characteristic «sound» of their own. They neither add nor remove anything, but capture the original signal just as it is.
Due to its efficient jitter reduction, RME’s superior SteadyClockTM finalizes the state-of-the-art AD/DA conversion, even when clocking to an external digital source.
Low Latency Converters
All analog I/Os use a low latency converter design with impressive 14 samples for the ADC, and 7 samples for the DAC, independent of the used sample rate. These values are about a quarter of the Fireface UC/400 (43/28), and even outperform much more expensive devices. A technical breakthrough that reduces the overall latency of timing critical applications, in live situations, and in computer-based recording studios. The converter latency is so low (0.4 ms at 48 kHz) that it can be ignored, turning analog digital monitoring into real analog-style monitoring!
Professional Level Support
A great converter needs to support the common studio levels for the perfect adaptation to other analog equipment without loosing headroom. Like all other RME devices the UCX supports the common professional studio levels: -10 dBV, +4 dBu, Lo / HiGain. The software-controlled reference levels, realized discretely in the analog domain, ensure highest dynamic range and fidelity. — Inputs 3 to 8: -10 dBV, +4 dBu and Lo Gain (adjustable in two groups — channels 3/4 and 5 to 8).- Outputs 1 to 8: -10 dBV, +4 dBu and Hi Gain (adjustable in two groups — channels 1 to 6 and 7/8).
All outputs can be used for ASIO Direct Monitoring purposes.
36 channels of Audio into a half 19 inch housing with full mobile usability
Quality over quantity
The UCX provides two high-end mic and instrument preamps — built right into the front.
Like the famous UFX ones, both preamps use core technology of RME’s Micstasy. A high-end preamp for supreme sonic demands and critical applications, like professional recordings of classical and acoustic music. The outstanding preamp design boasts extremely low distortion, excellent signal to noise ratio and a perfectly flat frequency response. A premium solution for transmitting and amplifying any audio source 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 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 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 will alternatively operate as Hi-Z inputs. Directly plug in up to two guitars or other instruments — no other hardware is required.
AutoSet
The UCX offers a unique RME feature which was previously available only in the high-end microphone preamp Micstasy and the UFX. Usually a limiter is used during the recording to prevent clipping of the A/D converter stage. But analog processing would not only spoil the excellent technical specifications of the UCX mic preamps but also alter the original sound.
Thanks to digitally controlled gain the UCX can reduce the gain automatically, thus providing perfect protection from overload with no degradation of the audio signal, which does not have to pass any additional electronic circuitry. Additionally AutoSet does not cause any of the control noises known from usual limiters. SNR and THD stay completely unchanged.
Example: In a recording session, the recording engineer asks the vocalist or guitarist to sing or play a reference part and sets the UCX preamp gain to an unusual high level (e. g. 50 dB). AutoSet will automatically reduce the gain when the level reaches -6 dBFS. The reduction is done in a musical way, based on the intensity and duration of the input signal. Manual gain adjustment becomes obsolete most of the time, but the gain can still be set manually. AutoSet can be switched on for each of the 4 front panel mic and instrument preamp channels individually.
DURec (Direct USB Recording)
DURec is an integrated digital recorder for all inputs and outputs directly to USB memory devices via the front USB port. The Fireface UFX+ and Fireface UFX II records on USB thumb drives or hard drives with up to 2 TB capacity. The recording functionality is provided by the internal DSP, and is therefore independent from a connected Windows or Mac computer. The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks. Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium — even completely stand-alone without computer or software.
Digital I/O, Word Clock & MIDI
SPDIF: The UCX provides a coaxial SPDIF I/O working at up to 192 kHz.
ADAT: One 8-channel ADAT I/O expands the UCX by 8 channels available simultaneously with the analog channels. They can be used to connect an 8-channel AD/DA converter, a mixing console, or to insert an effect device. The ADAT I/O supports sample rates with up to 192 kHz (S/MUX4). Using an external converter like the ADI-8 QS, the UCX will provide 16 analog inputs and outputs, 12 with a sample rate of 96 kHz, and still 10 at 192 kHz.
SPDIF: The ADAT I/O can be used as optical SPDIF I/O, making the UCX connections even more flexible.
Word Clock & MIDI: A word clock input and output (BNC) with switchable termination plus two MIDI I/Os on a breakout cable complete the I/O list and turn the Fireface UCX into a professional audio system with universal usability.
Flexible Routing & Mixing with TotalMix FX
Since 2001, TotalMix has added unlimited routing and mixing to RME audio interfaces. Its unique capability to create as many independent submixes as output channels available, turned it into the most flexible and powerful mixer of its kind.
With supported hardware, TotalMix FX includes a complete effects system, which not only adds flexibility to the recording chain, but also makes latency saddled software solutions obsolete.
TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.
TotalMix FX includes a complete effects system: EQ, Reverb, Dynamics & Delay
DURec (Direct USB Recording)
DURec is an integrated digital recorder for all inputs and outputs directly to USB memory devices via the front USB port. The Fireface UFX+ and Fireface UFX II records on USB thumb drives or hard drives with up to 2 TB capacity. The recording functionality is provided by the internal DSP, and is therefore independent from a connected Windows or Mac computer. The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks. Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium — even completely stand-alone without computer or software.
ARC USB Remote Control — Plug’n Play Plus
The ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch.
The ARC USB is a USB 1.1 MIDI remote control for the Fireface UFX+. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX+.
All 188 input and output channels can be individually chosen for recording and playback
ARC USB Remote Control — Plug’n Play Plus
The ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch.
The ARC USB is a USB 1.1 MIDI remote control for the Fireface UFX+. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX+.
All 188 input and output channels can be individually chosen for recording and playback
Flexible Routing & Mixing with TotalMix FX
Since 2001, TotalMix has added unlimited routing and mixing to RME audio interfaces. Its unique capability to create as many independent submixes as output channels available, turned it into the most flexible and powerful mixer of its kind.
With supported hardware, TotalMix FX includes a complete effects system, which not only adds flexibility to the recording chain, but also makes latency saddled software solutions obsolete.
TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.
TotalMix FX includes a complete effects system: EQ, Reverb, Dynamics & Delay
High-End Converter with low latency Design
In doing this the Fireface UCX marks a new packing record: 300 electronic components more than inside the already well-stocked Fireface UC! In a tremendous effort RME packed once again all the latest technologies, introduced with the award winning flagship UFX, plus a bunch of newly developed ones, into a half 19 inch housing with full mobile usability.
The result is an awesome combination of RME’s most successful products: Fireface UFX, Firefaces UC/400 and Babyface. The Fireface UCX is not just a smaller version of the smash hit UFX, with the HFX-core, the preamps and the complete effects engine. The UCX continues the tradition of RME’s tremendously successful compact interfaces, and combines it with the Babyface’s usability through the optional RME remotes.
TotalMix FX includes a complete effects system: EQ, Reverb, Dynamics & Delay
Digital I/O, Word Clock & MIDI
SPDIF: The UCX provides a coaxial SPDIF I/O working at up to 192 kHz.
ADAT: One 8-channel ADAT I/O expands the UCX by 8 channels available simultaneously with the analog channels. They can be used to connect an 8-channel AD/DA converter, a mixing console, or to insert an effect device. The ADAT I/O supports sample rates with up to 192 kHz (S/MUX4). Using an external converter like the ADI-8 QS, the UCX will provide 16 analog inputs and outputs, 12 with a sample rate of 96 kHz, and still 10 at 192 kHz.
SPDIF: The ADAT I/O can be used as optical SPDIF I/O, making the UCX connections even more flexible.
Word Clock & MIDI: A word clock input and output (BNC) with switchable termination plus two MIDI I/Os on a breakout cable complete the I/O list and turn the Fireface UCX into a professional audio system with universal usability.
Quality over quantity
The UCX provides two high-end mic and instrument preamps — built right into the front.
Like the famous UFX ones, both preamps use core technology of RME’s Micstasy. A high-end preamp for supreme sonic demands and critical applications, like professional recordings of classical and acoustic music. The outstanding preamp design boasts extremely low distortion, excellent signal to noise ratio and a perfectly flat frequency response. A premium solution for transmitting and amplifying any audio source 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 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 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 will alternatively operate as Hi-Z inputs. Directly plug in up to two guitars or other instruments — no other hardware is required.
AutoSet
The UCX offers a unique RME feature which was previously available only in the high-end microphone preamp Micstasy and the UFX. Usually a limiter is used during the recording to prevent clipping of the A/D converter stage. But analog processing would not only spoil the excellent technical specifications of the UCX mic preamps but also alter the original sound.
Thanks to digitally controlled gain the UCX can reduce the gain automatically, thus providing perfect protection from overload with no degradation of the audio signal, which does not have to pass any additional electronic circuitry. Additionally AutoSet does not cause any of the control noises known from usual limiters. SNR and THD stay completely unchanged.
Example: In a recording session, the recording engineer asks the vocalist or guitarist to sing or play a reference part and sets the UCX preamp gain to an unusual high level (e. g. 50 dB). AutoSet will automatically reduce the gain when the level reaches -6 dBFS. The reduction is done in a musical way, based on the intensity and duration of the input signal. Manual gain adjustment becomes obsolete most of the time, but the gain can still be set manually. AutoSet can be switched on for each of the 4 front panel mic and instrument preamp channels individually.
High-End Converter with low latency Design
In doing this the Fireface UCX marks a new packing record: 300 electronic components more than inside the already well-stocked Fireface UC! In a tremendous effort RME packed once again all the latest technologies, introduced with the award winning flagship UFX, plus a bunch of newly developed ones, into a half 19 inch housing with full mobile usability.
The result is an awesome combination of RME’s most successful products: Fireface UFX, Firefaces UC/400 and Babyface. The Fireface UCX is not just a smaller version of the smash hit UFX, with the HFX-core, the preamps and the complete effects engine. The UCX continues the tradition of RME’s tremendously successful compact interfaces, and combines it with the Babyface’s usability through the optional RME remotes.
TotalMix FX includes a complete effects system: EQ, Reverb, Dynamics & Delay
Comprehensive MADI Connectivity
The Fireface UFX+ opens the doors to a host of RME and 3rd party digital and analog I/O solutions. Expanding your analog channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.
To further enhance MADI flexibility, the Fireface UFX+ boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analog plus 16 ADAT plus AES), the MADI I/O is still available via RME’s integrated hardware mixer TotalMix FX. Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.
Звуковой интерфейс RME Fireface UCX объединяет Fireface UFX, Firefaces UC/400 и Babyface
Звуковой интерфейс Fireface UCX ориентирован на использование в студиях звукозаписи и для концертной записи. Устройство имеет небольшие размеры. По словам производителя, конструкторы Fireface UCX установили своеобразный рекорд: в блоке находится примерно 300 электронных компонентов. По сути, устройство является комбинацией трех других изделий RME: Fireface UFX, Firefaces UC/400 и Babyface. Примечательно при этом, что в Fireface UCX используются не привычные для мобильных интерфейсов RME недорогие преобразователи AKM AK4620, а четырехканальные TI PCM4104. Кроме того, в схеме использованы АЦП Cirrus Logic CS5368. По данным производителя, динамический диапазон при записи и воспроизведении составляет 114 дБА.
К наиболее важным особенностям интерфейса компания относит малую задержку (0,4 мс при частоте дискретизации 48 кГц), наличие двух микрофонных усилителей, в которых используются фирменные разработки RME, включая защиту от перегрузки AutoSet, а также новое «ядро» Hammerfall с поддержкой USB и FireWire. Встроенный цифровой сигнальный процессор работает с данными, характеризующимися частотой дискретизации 192 кГц.
На переднюю панель вынесены симметричные аналоговые входы 1/2 (два комбинированных разъема XLR/TRS) и 3/4 (два TRS), а также выходы 7/8 для наушников (TRS). На задней панели размещены симметричные входы 5-8 (TRS) и выходы 1-6 (TRS).
Что касается цифровых входов и выходов, есть коаксиальные разъемы SPDIF. Блок ввода-вывода ADAT добавляет восемь каналов ввода и вывода, которые можно использовать одновременно с аналоговыми. Их можно задействовать для подключения восьмиканального аналогово-цифрового и цифро-аналогового преобразователя, микшерского пульта или процессора эффектов. ADAT поддерживает частоты до 192 кГц (S/MUX4). Используя внешний преобразователь, такой, как ADI-8 QS, можно получить еще до восьми аналоговых входов и выходов.
Итак, в распоряжении пользователя — 36 звуковых каналов (по 18 входов и выходов), которые можно использовать одновременно. До 8 аналоговых и 10 цифровых каналов можно записывать на 18 раздельных дорожек. Предусмотрен мониторинг всех выходов (ASIO Direct Monitoring). В конфигурацию входит по восемь аналоговых входов и выходов, а также по два входа и выхода SPDIF. При частоте дискретизации 44,1 кГц или 48 кГц доступно также по восемь входов и выходов ADAT, что и дает в сумме 18 входов и 18 выходов. Если выбрана частота дискретизации 88,2 кГц или 96 кГц, количество входов и выходов ADAT уменьшается вдвое, так что входов и выходов становится по 14. Наконец, для работы на частоте 176,4 кГц или 192 кГц количество входов и выходов ADAT еще раз делится на два. Таким образом, суммарно получается по 12 входов и выходов.
Невозможно обойти вниманием микшер TotalMix, поддерживающий независимую маршрутизацию и микширование всех 18 входов и воспроизведение на все 18 физических выходов. Есть возможность создавать до девяти совершенно независимых подмиксов
Кроме того, доступна секция Control Room для работы с мониторами.
В каждом канале пользователь может включить трехполосный параметрический эквалайзер, настраиваемые поканально эффекты Low Cut, Auto Level, Compressor, Expander, MS Processing и инверсия фазы. Эффекты реверберации Reverb и Echo реализованы через посыл каждого канала на отдельную шину. Все эффекты доступны в любых режимах работы устройства вплоть до 192 кГц.
Цена RME Fireface UCX на российском рынке примерно равна 48 000 рублей.
With the Fireface UCX RME reinvented an already perfect product, by improving existing features and characteristics plus adding sophisticated new ones:
- Low Latency mastering grade converters with outstanding specifications.
- Two mic preamps with the premium technology from RME’s high-end recording bestsellers Micstasy and UFX, including the AutoSet overload protection.
- A newly developed Hammerfall audio core, supporting USB and FireWire with the maximum performance and ultra-low latency operation, combined with the legendary RME driver stability and maintenance, on both bus protocols.
- TotalMix FX with the complete Fireface UFX DSP engine, including all effects up to 192 kHz.
- Monitoring Controller: combining the impressive flexibility of the TotalMix FX monitoring tool set and the optional RME Remote Control.
- RME’s unique DIGICheck metering and analysis toolbox for Windows PC and Mac.Plus support for RME’s Advanced Remote Control, active jitter suppression technology, professional reference level support, advanced stand-alone functionality, full 192 kHz operation, and last but not least two high speed MIDI I/Os.
- On top of it: The Fireface UCX is the first professional audio interface with Class Compliant mode to work with Apple’s iPad, for perfect stereo up to 18 channel recording and playback, and the addition of truly professional I/Os.
So the UCX is a half rack unit, which is actually more powerful, than most 19 inch units. All in all the Fireface UCX is the new compact-sized dream interface, created with care for every detail, and a new premium solution for any desktop and live usage, without compromises in sound, stability and ultra-low latency operation.
Inputs and Outputs
The UCX provides 36 channels of audio — 18 I/Os. All channels can be used at the same time. Up to 8 analog and 10 digital channels can be recorded onto 18 separate tracks. All outputs can be used for ASIO Direct Monitoring purposes.
Available I/O (channels) with different Sample Rates:
| Sample Rate | Analog | SPDIF | ADAT | Total In/Out |
| 44.1/48 kHz | 8/8 | 2/2 | 8/8 | 18/18 |
| 88.2/96 kHz | 8/8 | 2/2 | 4/4 | 14/14 |
| 176.4/192 kHz | 8/8 | 2/2 | 2/2 | 12/12 |
8 Inputs
On the rear: 4 balanced TRS. On the front: 2 XLR inputs with Mic/Line preamps (65 dB Gain) and 2 Hi-Z capable TRS Line/Instrument inputs..
8 Outputs
On the rear: 6 balanced TRS outputs. On the front: One additional TRS stereo phones (playback channels 7/8). The high power phones output offers high volumes even with high-impedance headphones.
Sound Quality
Equipped with a new 2011 A/D and D/A high-performance converter design all I/Os operate at up to 192 kHz. The AD/DA conversion supersedes the outstanding technical specifications of the Fireface UC/400 with an impressive 114 dBA dynamic range on both record and playback. The advanced multi-bit converter architecture guarantees excellent S/N and THD specs across a wide analog level range. In the best RME tradition and product philosophy, the UCX converters and preamps have no characteristic «sound» of their own. They neither add nor remove anything, but capture the original signal just as it is.
Due to its efficient jitter reduction, RME’s superior SteadyClockTM finalizes the state-of-the-art AD/DA conversion, even when clocking to an external digital source.
Low Latency Converters
All analog I/Os use a low latency converter design with impressive 14 samples for the ADC, and 7 samples for the DAC, independent of the used sample rate. These values are about a quarter of the Fireface UC/400 (43/28), and even outperform much more expensive devices. A technical breakthrough that reduces the overall latency of timing critical applications, in live situations, and in computer-based recording studios. The converter latency is so low (0.4 ms at 48 kHz) that it can be ignored, turning analog digital monitoring into real analog-style monitoring!
Professional Level Support
A great converter needs to support the common studio levels for the perfect adaptation to other analog equipment without loosing headroom. Like all other RME devices the UCX supports the common professional studio levels: -10 dBV, +4 dBu, Lo / HiGain. The software-controlled reference levels, realized discretely in the analog domain, ensure highest dynamic range and fidelity. — Inputs 3 to 8: -10 dBV, +4 dBu and Lo Gain (adjustable in two groups — channels 3/4 and 5 to 8).- Outputs 1 to 8: -10 dBV, +4 dBu and Hi Gain (adjustable in two groups — channels 1 to 6 and 7/8).
All outputs can be used for ASIO Direct Monitoring purposes.
36 channels of Audio into a half 19 inch housing with full mobile usability
До 20 каналов ввода / вывода
RME покончил с переходным кабелем MIDI и поместил разъемы MIDI прямо на заднюю панель. Однако вам придется обойтись только одним входом и выходом MIDI, в отличие от двух в более ранней версии Fireface UCX. Удаленный разъем также был исключен, так как он больше не нужен во времена ARC Remote USB. Понятно, что в RME отсутствует порт Firewire 400, что делает USB 2.0 единственным средством подключения к компьютеру. Они также сохранили разъем USB-B вместо перехода на USB-C.
Но теперь есть второй USB-порт, к которому вы можете подключить USB-накопитель или жесткий диск для прямой записи (DURec). Это эффективно превращает Fireface UCX II в автономный полевой рекордер, что является отличным вариантом. Кроме того, вы можете использовать этот порт для дистанционного управления ARC USB.
Другие соединения включают синхронизацию слов, ADAT I / O и AES / EBU. Порт AES / EBU также обеспечивает S / PDIF через прилагаемый переходной кабель, который заменяет разъемы RCA S / PDIF в Fireface UCX. Новая конфигурация ввода / вывода означает, что RME Fireface UCX II предлагает до 20 каналов записи и 20 каналов воспроизведения, все из которых могут использоваться одновременно.
Внутри RME интегрирована новая технология подавления джиттера SteadyClock FS, в которой используются те же «цифровые часы — Clock«, что и в серии ADI-2. RME заявляет, что «новые часы» позволяют улучшить преобразование AD и DA, а также увеличить глубину и четкость.
В общем, новый RME Fireface UCX II по-прежнему отчетливо является Fireface UCX. Но RME дал аудиоинтерфейсу несколько очень хороших обновлений, которые довели его до характеристик 2021 года. Достаточно на следующие одиннадцать лет?
