PRO LINE
USB & FireWire
Preamps
Converters
PCI Express Cards
PCI Cards
time to
record
Fireface UFX
60-Channel USB & FireWire audio interface with Direct USB Recording
X
HFX-Core
USB + FireWire
High-End Converters
Low Latency Design
TotalMix FX
High-end hardware mixer
Fireface
Series
Superior Audio Interfaces
HFX-Core
The dream of every live perfoming artist comes true: the low
latency and stability of a PCI interface with the free choice of
USB and FireWire connection in the same interface.
In the Fireface-X-Series RME integrated the latest and most sophisticated version
of RME’s bus technology, the Hammerfall-X-Core - combining both USB 2.0
and FireWire in one interface. Both bus technologies are optimized for highest
performance under Windows and Mac OS, providing an exceptional stability,
revolutionary ultra-low latencies down to one millisecond - even with multiple
channels - plus on the-fly latency changes, support of multiple devices, sample
rates up to 192 kHz and much more.
The secret of success: RME is the only manufacturer that doesn’t use a third party
USB or FireWire audio technology, but its own, self-developed Hammerfall Audio
Core with an outstanding performance and uncompromised pro audio features.
The complete bus technology is programmed into the core and remains under
direct control of the RME masterminds. If ever necessary, it can be updated
anytime by a simple firmware update.
Low Latency Converters
Fireface UCX
60 Channels
36 Channels
Advanced Parallel Conversion
Ultra Compact Size
Direct USB Recording
2011 Converter Design
High Resolution Display
Class Compliant Mode for iPadTM
See page 4.
See page 8.
More features
All analog I/Os of the X-Series provide a low
latency converter design with outstanding
specificatiuons. The latency values are about a quarter of those from other interfaces 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 even further.
Universal I/O configuration: Analog, AES/EBU, SPDIF, ADAT, Word Clock, MIDI
The converter latency of the X-Series is so low (0.4 ms at 48 kHz) that it can be ignored,
turning analog digital monitoring into real analog-style monitoring!
Advanced Stand Alone Operation
TotalMix FX
RME integrated the latest generation of their superior hardware
mixer in the X-Series. It delivers a fully flexible mixing/routing
with lots of new features for studio and live work and provides a highly improved
usability.
2
Fireface UFX
On top of it: a complete effects section, which 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 room.
Every input and output channel comes with a luxury feature set, comparable to a fullscale 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 UCX easily surpasses the competition by offering all these effects even at 192 kHz
operation.
Digitally controlled high-end preamps with AutoSet
Support for RME’s Advanced Remote Control
Built-in Monitoring Controller
All features up to 192 kHz
Class Compliant Mode (e. g. use with Apple iPad)
For Windows and Mac OS
AutoSet. The X-Series provides a unique RME feature which was previously available only in the high-end microphone preamp Micstasy: an
automatic gain reduction and overload protection technology.
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 X-Series mic preamps but also alter the original sound. Thanks to the completely digitally controlled
gain the X-Series 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 vocalist or guitarist sings or plays a reference part. The preamp gain is set to a very high level (e. g. 50
dB). AutoSet will automatically reduce the gain when the level of the played signal reaches -6 dBFS to a safe value. 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.
Fireface
Fireface UFX
X Series
USB / FireWire
Superior Audio Interfaces
I n t e r f a c e s
60-Channel 192 kHz
USB & FireWire
audio interface
Analog I/O
The UFX has 12 analog I/O.
Back:
Inputs 1-8 (TRS - balanced)
Output 1-2 - Main Out (XLR balanced)
Output 3-8 (TRS – balanced)
Front:
Inputs 9-12 (XLR/TRS Combo - balanced)
Outputs: 9/10, 11/12 (TRS - Stereo)
Every input and output is individually
switchable to all 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 XLR outputs
even provide a level of up to +24 dBu.
Optional Advanced Remote Cotntrol
(see page 11)
I/O Connectivity
30 Input / 30 Output channels
12 x Analog I/O
4 x Mic/Instrument Preamp (digitally
controlled) using Advanced Parallel
Conversion
1 x AES/EBU I/O
2 x ADAT I/O (or 1 x ADAT I/O plus 1 x
SPDIF I/O optical)
1 x Word Clock I/O
2 x MIDI I/O
1 x RME Remote Connector
FireWire and USB operation
4
60 channels of audio! Digitally controlled high-end preamps, reference class converters
Preamps. The UFX provides four high-transparency preamps backed up by four stereo converters
and complete 192 kHz operation. Ultra-low latency operation with USB OR FireWire
with RME´s unique Advanced Parallel Conversion technology. All four UFX preamps are feeding
combined with the legendary RME driver stability and maintenance. Including active jitter
not only four, but eight AD converters. Every microphone channel uses a double, parallel AD
suppression, professional reference level support, advanced stand-alone functionality,
conversion on two AD converters at the same time to reach exceptional signal-to-noise values
RME´s unique DIGICheck metering and analysis toolbox and – of course – identical
and a performance not available with a classic converter design.
The UFX provides a professional AES/EBU
operation on Windows PC and Mac. On top of it: TotalMix FX, the new digital high-end
The fully symmetrical preamp design impresses with extremely low distortion, excellent signal to
I/O with 192 kHz support, which can also
mixer and signal router, driven by two powerful DSP, with integrated EQ, Dynamics and
noise ratio and a perfect linear frequency response. Mic and instrument preamps of the UFX use
Reverb/Echo effects up to 192 kHz plus built-in monitoring control.
the core technology from RME´s Micstasy – a high-end preamp for supreme sonic demands and
The full-blown feature set is backed up by an extraordinary usability. At its heart is a bright
critical applications, like the professional recording of classical concerts. The digitally controlled
multi-functional color display with full front panel metering for all 60 channels plus effect
gain of up to 65 dB, adjustable in steps of 1 dB over a range of 55 dB, is individually set for every
bus, and complete control of all key features - directly from the front of the UFX.
preamp by the display-supported controls on the front of the UFX. All level settings are 100%
Sound quality. The Fireface UFX combines excellent analog circuit design with high-grade AD/
DA converter chips. 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. In best RME tradition
reproducible and can also be adjusted comfortably with the TotalMix software from the host
computer or via 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.
Digital I/O
AES/EBU
be set to SPDIF (Consumer) mode.
ADAT
Two 8-channel ADAT I/Os expand the
UFX and allow a connection of two
additional AD/DA converters or the
insertion of effects devices and mixing
consoles. Both I/Os support sample rates
with up to 192 kHz (S/MUX4).
and product philosophy these converters and preamps don’t produce “sound”, they do not add or
USB & FireWire. With the new HFX-Core the UFX combines USB and FireWire, Made by RME,
remove anything from the source signal, just capture it as it is. Due to its efficient jitter reduction,
within one interface and has been uncompromisingly optimized for highest performance under
RME´s superior SteadyClock guarantees state-of-the-art AD/DA conversion, even when clocking
Windows and Mac OS.
to an external digital source.
Monitor Controller. The UFX is not only a perfect desktop level controller, but a monitor switcher
converters like the ADI-8 QS, the UFX will
All I/Os operate up to 192 kHz and reach 118 dBA dynamic range on playback - even both
and source selector with integrated talkback function for modern Mix-In-the-Box studios. As the
provide 28 analog inputs and outputs, 20
headphone outputs. Their high power technology delivers high volume no matter if high or low
UFX includes the usually externally added monitoring controller, it also preserves the original
with a sample rate of 96 kHz, and still 16
impedance phones are used.
sound, as its hardware output stays directly connected to the studio monitors.
at 192 kHz.
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 Leveler,
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 tops the competition by
offering all these effects even at 192 kHz operation.
Like AES/EBU, these 16 ADAT channels
are available simultaneously with the
analog channels. Using two external
The control room features work hand in hand with the control room section of TotalMix. A flexible
management allows you to assign any physical output to the three, directly knob-controlled
monitor outputs. E.g. just assign the AES/EBU output as Main Out, or as Phones Out - any output
can be used. Talkback, Listenback, Mono, Dim - all these features work automatically for the
assigned outputs in the expected way. The optional Advanced Remote Control provides a
big rotary encoder, a Recall button plus 7 freely programmable buttons for your frequently used
TotalMix functions (see page 11).
SPDIF
The second ADAT I/O can be used as
optical SPDIF I/O, making the UFX
connections even more flexible.
Fireface UFX
continued
TotalMix FX. The DSP-based hardware mixer allows fully independent routing and mixing of all 30 input and 30 playback channels to all 30 physical
outputs. Up to 15 totally independent stereo submixes plus a luxury Control Room section offer unrivalled monitoring capabilities and unsurpassed
routing flexibility. It not only matches features of high-end digital consoles but even adds the following effects on all input and output channels:
3-band parametric EQ plus Low Cut (up to 24 dB/Oct), Dynamics: Compressor/Expander, Auto Level. The UFX provides a separate FX send bus feeding
two effect engines: Reverb and Echo. All effects are available even at 192 kHz.
Display. To maintain the best usability for this huge feature set, RME integrated a high resolution color display into the front panel. In combination with
a trio of rotary encoders all 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.
DURec TM - Direct USB Recording
Recording & playback without computer and software.
All 30 inputs and 30 outputs.
On USB stick or hard drive.
The UFX features an integrated recorder for all inputs and all outputs
directly to USB memory devices with up to 2 TB.
Live concerts, band rehearsals or spontaneous jam sessions can be
recorded and played from the medium. Individual channels can be
chosen for recording and the playback afterwards.
Specifications
AD, Line In 1-8, rear
DA, Line Out 3-8, rear
▪▪ Signal to Noise ratio (SNR): 110 dB RMS unweighted, 113 dBA
▪▪ Dynamic range (DR): 115 dB RMS unweighted, 118 dBA
▪▪ THD: < -110 dB, < 0.00032 %
▪▪ THD: -104 dB, < 0.00063 %
▪▪ THD+N: < -104 dB, < 0.00063 %
▪▪ THD+N: -100 dB, < 0.001 %
▪▪ Channel separation: > 110 dB
▪▪ Channel separation: > 110 dB
▪▪ Input: 6.3 mm TRS jack, electronically balanced
▪▪ Output: 6.3 mm TRS jack, servo-balanced
▪▪ Input sensitivity switchable to Lo Gain, +4 dBu, -10 dBV
▪▪ Output impedance: 75 Ohm
▪▪ Input level for 0 dBFS @ Lo Gain: +19 dBu
▪▪ Output level switchable Hi Gain, +4 dBu, -10 dBV
▪▪ Input level for 0 dBFS @ +4 dBu: +13 dBu
▪▪ Output level at 0 dBFS @ Hi Gain: +19 dBu
▪▪ Input level for 0 dBFS @ -10 dBV: +2 dBV
▪▪ Output level at 0 dBFS @ +4 dBu: +13 dBu
The UFX records the pure input signals as well as the processed mixer
outputs in any combination. The channels to be recorded can be selected
directly at the unit or comfortably in TotalMix FX. Playback supports up to
30 channels, either into the UFX outputs or the mixer inputs, enabling a
post-processing of the audio data. The UFX also plays back standard wav
files that had been copied to the USB memory externally. The Recorder has
been integrated not only into the unit, but also as addition into TotalMix FX.
Despite the fact that nearly all common audio programs can load the
recorded multichannel files directly into their projects, a special software
for splitting them into individual wav files can be downloaded from the
RME website.
▪▪ Output level at 0 dBFS @ -10 dBV: +2 dBV
Microphone In 9-12, front - As AD, but
▪▪ Input: XLR, electronically balanced
DA - Stereo Monitor Output XLR (1-2) - As DA, but:
▪▪ Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
▪▪ Output: XLR, balanced
▪▪ Gain range: 65 dB
▪▪ Output level switchable 24 dBu, Hi Gain, +4 dBu, -10 dBV
▪▪ Maximum input level, Gain 0 dB: +12 dBu
▪▪ Output level at 0 dBFS @ 24 dBu: +24 dBu
Instrument In 9-12, front - As AD, but:
DA - Stereo Monitor Output Phones (9-12) - As DA, but:
▪▪ Input: 6.3 mm TS jack, unbalanced
▪▪ Output: 6.3 mm TRS stereo jack, unbalanced
▪▪ Signal to Noise ratio (SNR): 112 dB RMS unweighted, 115 dBA
▪▪ Maximum output level at 0 dBFS, High: +17 dBu
▪▪ Gain range: 55 dB
▪▪ Maximum output level at 0 dBFS, Low: +2 dBV
▪▪ Output impedance: 30 Ohm
Awards
musikmesse
international
press award
Fireface
Fireface UCX
X Series
USB / FireWire
Superior Audio Interfaces
I n t e r f a c e s
NEW 36-Channel 192 kHz Bus-powered
FireWire 400 audio interface
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 softwarecontrolled 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 TotalMix in two groups – channels 3/4 and 5 to 8).
Outputs 1 to 6 : -10 dBV, +4 dBu and Hi Gain.
Phones/line out 7/8: -10 dBV, +4 dBu and Hi Gain.
The phones output (channels 7/8) can be set to a different reference as channels 1 to 6.
Preamps. The crown jewels of the UCX are the two high-end mic and instrument preamps with AutoSet (see page 3) – built right into the front.
Like in the UFX, 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 that lets these preamps surpass those of other devices costing several times the price of the UCX. A premium
solution for transmitting and amplifying any audio source truly unchanged, be it high-level stage or typical studio signals, lower level and highimpedance 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.
TotalMix FX. The UCX provides the complete effects engine from the UFX
- all effects are available at all sample rates.
I/O Connectivity
18 Input / 18 Output channels
8 x Analog I/O
2 x Mic Preamp with digitally
controlled gain
1 x ADAT I/O or 1 x SPDIF I/O (optical)
1 x SPDIF I/O (coaxial)
2 x MIDI I/O
1 x Word Clock I/O
1 x RME Remote Connector
FireWire and USB operation
8
The Fireface UCX is a highly integrated pro audio solution in an ultra-compact format for
studio and live recordings. It continues RME’s long tradition of designing compact highend interfaces, packing into a half-rack size unit what usually would be spread out over
two or three 19 inch panels.
In doing this the Fireface UCX marks a new packing record: 300 electronic components
more than inside the already well-stocked Fireface UC! 50 of these to shield the internal
high-end electronic from the pulsating DSP heart. 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 DSP-based TotalMix mixer allows fully independent routing and
mixing of all 18 input and playback channels to all 18 physical outputs. Up
to 9 totally independent stereo submixes plus a comprehensive Control
Room section offer unrivalled monitoring capabilities and unsurpassed
routing flexibility.
Two DSPs ensure an impressive performance even in extreme
applications. As usual with RME, TotalMix is available with all channels
at all sample rates, completely unlimited. The second DSP calculates the
effects only, therefore has sufficient resources. For example, at 48 kHz
36 EQs, 36 Low Cuts, 26 Compressors and Echo can be activated. With
activated Reverb and Echo still 36 EQs, 36 Low Cuts and 16 Compressors
are available.
The result is an awesome combination of RME’s most successful products: Fireface UFX,
Firefaces UC/400 and Babyface. The UCX is not just a smaller version of the UFX. It continues
the tradition of RME’s tremendously successful compact interfaces and combines it with
the great usability experience of the Babyface through the optional remote.
Integrated Monitoring Controller. Thanks to the multi-functional rotary encoder the UCX is not only a perfect desktop level controller for the main
monitors and phones. The integrated TotalMix FX high-end mixer provides an impressive set of monitoring control features for modern Mix-In-the-Box
studios or live mixing sessions. Among them Dim, source selection, monitor switching, integrated Talkback, a flexible CUE setup, Mute and Mute FX,
Mono and much more.
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.
The flexibility of RME’s DSP-driven TotalMix FX monitoring tool set is impressive: any physical output can be assigned to the directly knob-controlled
monitor outputs (Main out, Speaker B, Phones 1, 2 ...). Just assign the SPDIF output as Speaker B or as Phones Out - any output can be used. The
functions Talkback, Listenback, Mono and Dim will work automatically for the assigned outputs in the expected way. CUE mixes can be sent to a
predefined output, an external input can be assigned and monitored with a simple click. Convenience for any studio or live situation at its best.
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.
Class Compliant Mode. The Fireface UCX is the first professional audio interface with the option to be used as Class Compliant interface. It then works
All analog I/Os provide 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
UCX provides the iPad with the professional analog I/O connections it lacks. Superb microphone preamps with EQ, dynamics, AutoSet, in addition
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!
The optional Advanced Remote Control (ARC) provides one big wheel dial, a button for level storage/recall, and seven freely programmable buttons
- 6 with LED - for nearly all TotalMix FX functions. Just assign all frequently used TotalMix functions to these buttons. The remote control comes with
a flexible, 5 m (16 ft.) long cable.
without a driver as audio/MIDI interface on several operating systems, and with Apple’s iPadTM and iPad2 (Camera Connection Kit required). The
to professional balanced line outputs, and a hi-power headphone output. Plus level adjustments, reverb, echo, zero latency monitoring. All of this
digitally via USB - which means no limitation in quality.
Fireface UCX
Advanced Remote Control
continued
Comparison between Fireface UCX and Fireface UFX
NEW for Fireface UFX, UCX and others
Fireface UCX
Fireface UFX
Inputs
18
30
Outputs
18
30
Analog I/Os
8
12
Advanced Parallel Conversion
-
4x
AES/EBU I/O
-
1x
SPDIF I/O
1 coaxial + 1 optical (opt. = ADAT I/O)
1 optical (alt. to 2nd ADAT I/O)
ADAT I/O
1x
2x
Mic Preamps (digitally controlled)
2x
4x
Word Clock I/O (BNC)
yes
yes
Phones Outputs (dedicated)
1x
2x
High Resolution Color Display
-
yes
MIDI I/O
2x
2x
Internal DSP hardware effects with X-Series effects engine
yes
yes
AutoSet for Mic/Inst. Preamps
4x
4x
RME Remote Support
yes
yes
Direct USB RecordingTM
-
yes
Size
1/2 19 inch
19 inch
All TotalMix FX features at up to 192 kHz
yes
yes
SMUX (up to 192 kHz)
yes
yes
Complete Stand Alone Operation with Setup Recall
yes
yes
USB & FireWire support (HFX-Core)
yes
yes
Specifications
AD, Line In 5-8, rear
▪▪ Low Roll Off –0.5 dB: 18 Hz, -1 dB: 12 Hz
This optional tool for the Fireface UFX and UCX has a solid metal case with a main
▪▪ Signal to Noise ratio (SNR): 111 dB RMS unweighted, 114 dBA
▪▪ Gain range: 0 dB, +10 up to +65 dB
encoder dial and the following buttons:
▪▪ Maximum input level XLR, Gain 0 dB: +10 dBu
- Recall button
▪▪ THD: < -105 dB, < 0.0005 %
▪▪ THD+N: < -98 dB, < 0.0012 %
▪▪ Channel separation: > 110 dB
▪▪ Maximum input level XLR, Gain 65 dB: -55 dBu
▪▪ Maximum input level TRS, Gain +0 dB: +21 dBu
Programmable TotalMix FX
functions (examples)
- 1 x Push button on the front (freely programmable)
▪▪ Talkback
▪▪ Mono
▪▪ Maximum input level: +19 dBu
▪▪ Maximum input level TRS, Gain +65 dB: -44 dBu
- 7 x button LED-equipped (freely programmable)
▪▪ Input: 6.3 mm TRS jack, electronically balanced
DA, Line Out 1-6, rear
The Remote Control is the perfect partner for RME’s X-Series interfaces and the built-
▪▪ Mute (Main Out, Global)
▪▪ Input sensitivity switchable to Lo Gain, +4 dBu, -10 dBV
• Dynamic range (DR): 111 dB, 114 dBA @ 44.1 kHz (unmuted)
in studio and live mixer TotalMix FX. The ARC turns them into a powerful and flexible
▪▪ Phones 1/2 ...
• Frequency response @ 44.1 kHz, -0.1 dB: 8 Hz – 20.4 kHz
monitoring controller built directly into an audio interface.
▪▪ Dim
• Frequency response @ 96 kHz, -0.5 dB: 6 Hz – 45 kHz
The combination of interface and remote control allows not only to control the most
▪▪ Recall
• Frequency response @ 192 kHz, -1 dB: 5 Hz - 90 kHz
important monitoring functions, like volume control of the main and headphones
▪▪ Speaker B
Line In 3-4 In, front - As AD, but
• THD: -100 dB, < 0.001 %
outputs, but is a flexible and freely configurable monitoring platform for every studio or
▪▪ External Input
▪▪ Additional Gain stage: 0 up to +12 dB
• THD+N: -96 dB, < 0.0015 %
live workflow. Thanks to its programmable buttons nearly every current and upcoming
▪▪ Mic Gain 1/2/3/4 or 1+2 / 3+4
▪▪ Maximum input level, Lo Gain, Gain 0 dB:
Line +19 dBu, Inst +13 dBu
• Channel separation: > 110 dB
feature of TotalMix can be controlled. Be it the gain control for the mic preamps, recall of
• Maximum output level: +19 dBu
mixer snapshots, the cue function for the headphones outputs or complete solo, mute
▪▪ Recall Snapshots
▪▪ Maximum input level, -10 dBV, Gain 12 dB:
Line -7.5 dBu, Inst -13.5 dBu
• Output: 6.3 mm TRS jack, servo-balanced
and fader groups. Just assign all frequently used TotalMix functions to these buttons.
▪▪ Input impedance Inst: 470 kOhm
• Output impedance: 75 Ohm
• Output level switchable Hi Gain, +4 dBu, -10 dBV
The massive Remote Control connects via a 5 m (16 ft.) cable and a special connector on
▪▪ 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
▪▪ Input Gain Inst: +6 dB
▪▪ Input mode: Line balanced (TRS), Inst unbalanced (TS)
• Output level at 0 dBFS @ Hi Gain: +19 dBu
the back of the host unit.
• Output level at 0 dBFS @ +4 dBu: +13 dBu
The ARC can be used with all Fireface UCX. UFX can be used from serial number 23241707
Microphone/Line 1-2, front - As AD In 5-8, but:
• Output level at 0 dBFS @ -10 dBV: +2 dBV
on. Older units (typically built before June 2010) require a new digital expansion board.
▪▪ Input: Neutrik XLR/TRS Combo jack, electronically balanced
DA – Phones, 7/8, front - As DA, but:
▪▪ Input impedance: XLR 2 kOhm, TRS 8 kOhm balanced
▪▪ Output: 6.3 mm TRS jack, unbalanced
▪▪ Signal to Noise ratio (SNR): 112 dB RMS unweighted, 114 dBA
▪▪ Output impedance: 30 Ohm
Please contact your local distributor for details.
▪▪ Cue Phones 1/2/3/4
▪▪ Fader groups
▪▪ Solo groups
▪▪ Mute groups
11
Babyface
USB
I n t e r f a c e s
Perfect Control. With one main control knob and two single buttons the elegant Babyface acts as a perfectly designed direct desktop control for
all typical studio tasks: volume control, reference volume store and recall, volume dim, input selection/switching, input gain control. The LED bars
serve as both level and gain meters, visually supporting the precise control of all inputs, outputs and headphone levels directly at the interface.
USB . Made by RME. The Babyface connects to the USB 2.0 bus, but is also compatible to USB 3 chipsets. It has been uncompromisingly optimized
22-Channel 192 kHz
Bus-powered mobile USB
audio interface
for highest performance under Windows and Mac OS by using customized firmwares for every operating system. Like other RME USB interfaces,
the Babyface provides revolutionary ultra-low latencies even with multiple channels.
Full mobility. The ultra-portable Babyface allows a bus-powered operation via two USB connectors (USB power cable included). This turns the
Babyface into the perfect partner for mobile recording of live performances, composing sessions in a park or coffee shop, or just wherever you go.
Even if you just see it as a good looking HIFI music player or home studio companion – it will work perfectly on your desktop or notebook computer.
The package includes: USB power cable, breakout cable with balanced XLR connectors, extension cable 1 m, black Neopren “Babybag”.
Optional accessories: ALVA Babyface breakout cable with unbalanced analog I/Os (RCA), ALVA extension cable with a length of 3 m.
TotalMix FX
The integrated DSP mixer delivers hardware mixing/routing with
lots of new features and a highly improved usability.
Pink “Ladyface” edition
It matches not only features of high-end digital consoles but
even adds effects like a 3-band parametric EQ plus Low Cut on
Blue edition
all input and output channels. The Babyface also provides a
separate FX send bus with Reverb and Echo.
Silver edition
I/O Connectivity
10 Input / 12 Output channels
2 x Analog Input (balanced) with 2 x
MicPreamp (digitally controlled gain)
and 1 x Hi-Z Input (alternative)
4 x Analog Output:
2 x XLR balanced plus 1 x TRS
1 x ADAT I/O or 1 x SPDIF I/O (optical)
1 x MIDI I/O
Equipped with the latest 192 kHz AD- and DA-converters and two reference class
recording channels and four analog playback channels, plus ADAT/SPDIF and MIDI I/O in
an attractively shaped enclosure.
Uncompromised mastering quality. The balanced XLR I/Os and the TRS phones outputs use RME’s
analog circuit design, therefore guarantee outstanding noise and distortion values. The latest
generation AD/DA converters provide sample rates up to 192 kHz with an SNR of up to 115 dBA.
Due to its efficient jitter reduction, RME’s SteadyClock guarantees prestine sound quality, even
▪▪ Dynamic range AD: 108 dB RMS unweighted, 111 dBA
▪▪ Frequency response @ 44.1 kHz, -0.5 dB: 10 Hz - 22 kHz
▪▪ THD AD: < -100 dB (< 0.001 %)
▪▪ Maximum Input Level for 0 dBFS: +12 dBu
▪▪ THD+N AD: < -98 dB (< 0.0012 %)
▪▪ Maximum Output Level @ 0 dBFS Line: +15 dBu
▪▪ Crosstalk AD: > 110 dB
▪▪ Maximum Output Level @ 0 dBFS Phones: +8 dBu
▪▪ Dynamic range DA: 112 dB RMS unweighted, 115 dBA
▪▪ Sample rate internally: 32, 44.1, 48, 64, 88.2 kHz, 96 kHz,
176.4, 192 kHz
▪▪ THD DA: < -104 dB (< 0.00063%)
when clocking to an external digital source.
▪▪ THD+N DA: < -100 dB (< 0.001%)
High-End Mic Preamps. A gain of up to 60 dB, exceptional EIN performance even at low
▪▪ AD Frequency response @ 44.1 kHz, -0.5 dB: 20 Hz - 20.9 kHz
amplification settings, and extremely low THD+N values let these preamps surpass those of
other devices that cost several times the price of the Babyface. Both digitally controlled preamps
provide individually switchable 48V phantom power. All level settings are 100% recallable by the
setup software and can be comfortably adjusted directly at the unit.
Digital I/O. The feature set includes an optical TOSLINK I/O, usable as ADAT port with SMUX
support or SPDIF optical at up to 192 kHz. In combination with an ADAT converter, like RME’s
ADI-8 QS or OctaMic II, the Babyface provides an incredible amount of 10 analog input and 12
output channels.
Phones Output. The additional headphone output, driven from a separate and dedicated DA
12
Specifications
microphone preamps the bus-powered Babyface provides two high end analog
converter, delivers the full sonic experience of up to 192 kHz. The output is available not only
directly at the unit but also at the breakout cable.
Instrument Input. Directly plug in your guitar or other instruments by switching one input to
Hi-Z input mode. Recording any instrument becomes a breeze and does not require any other
hardware.
MIDI I/O. The integrated MIDI I/O completes the list of features and turns the Babyface into a
creative audio system of universal usability. Do what you want – wherever you want!
Two color versions are available: blue and silver. A special edition with a white bag, a white cable
set and an additional RCA breakout cable are available: the pink “Ladyface” edition.
▪▪ Crosstalk DA: > 110 dB
▪▪ Sample rate externally: 28 kHz - 200 kHz
▪▪ Comes with DIGICheck, RME’s ultimate measurement,
analysis and test tool
Fireface 800
FireWire
I n t e r f a c e s
56-Channel 192 kHz
FireWire 800 audio interface
Time Code Option
Adds LTC- and
video input to
the Fireface 800
I/O Connectivity
28 Input / 28 Output channels
10 x Analog I/O
1 x Stereo Headphone Out
2 x ADAT I/O or 1 x ADAT I/O plus
1 x SPDIF I/O (optical)
1 x SPDIF I/O (coaxial)
1 x MIDI I/O
4 x Mic/Line Inputs
1 x Instrument Input
2 x FireWire 800
1 x FireWire 400
optional: Time Code Module
14
The Fireface 800 is the high performance audio interface redefining the benchmark for
FireWire audio devices. It combines approved features of existing RME products with
today´s fastest FireWire technology. Based on the Hammerfall DSP technology, the
Fireface 800 combines maximum audio quality and flexibility with extremely low latency.
High-end AD/DA converters and sampling rates of up to 192 kHz ensure a pure and unequaled
audio quality. All major settings are controlled by the included TotalMix software and can be
stored as presets. Fireface 800 and TotalMix give you full control on the audio signal: simultaneous
Features
Specifications
▪▪ Top range AD/DA converters with 24 bit and
up to 192 kHz sampling frequency on all
inputs and outputs
▪▪ Dynamic range AD: 110 dB RMS unweighted, 113 dBA
▪▪ 4 x Mic Inputs in Class-A design with a
maximum gain of 60 dB
▪▪ THD AD: < -110 dB (< 0.00032 %)
▪▪ THD+N AD: < -104 dB (< 0.00063 %)
▪▪ Crosstalk AD: > 110 dB
▪▪ 8 x Line In and Out, servo-balanced with
variable level settings
▪▪ Dynamic range DA: 116 dB RMS unweighted, 119 dBA (unmuted)
- all at the same time.
▪▪ High-Z Instrument In with Overdrive and
Speaker Emulation
▪▪ THD+N DA: < -100 dB (< 0.001 %)
The Fireface 800 also supports standalone operation by storing any user setup in its flash memory.
▪▪ Dedicated Headphone Out
▪▪ Crosstalk DA: > 110 dB
It retains all settings, including the mixer configuration, and loads them when the device is
▪▪ Steady Clock®-technology for maximum jitter
suppression
▪▪ Input/Output level for 0 dBFS @ Hi Gain: +19 dBu
▪▪ Word Clock I/O, low latency MIDI I/O, SPDIF
I/O coaxial (AES/EBU compatible)
▪▪ Input/Output level for 0 dBFS @ -10 dBV: +2 dBV
▪▪ 2 x ADAT digital I/Os, (1 x switchable to SPDIF
optical)
▪▪ Sample rate external: 28 - 200 kHz
recording of 28 tracks to your computer, routing the signal to the backup media on two ADAT
ports, an extra mix for the digital 2-track Master via SPDIF/AES, checking every signal or every
combination of signals over the integrated headphone output with several different submixes
powered up. The unit can thus be configured and used as a standalone device, e.g. as a submixer,
AD and DA converter, headphone mixer, format converter, instrument- and microphone preamp,
monitor mixer, etc. With its 2 ADAT interfaces the Fireface 800 can be easily expanded with RME´s
OctaMic II or the renowned ADI series converters to expand it to a full-blown 28-channel analog
mobile recording studio - perfect for recording, monitoring, routing and audio processing.
All inputs and outputs can be used at the same time! E. g. the instrument input can be used either
instead of the line input on the back, or together with it. Even the TRS jack and the XLR socket
of the microphone inputs can be used simultaneously. This way, up to 35 signal sources can be
connected to the Fireface 800 and recorded onto 28 separate tracks!
All inputs and outputs can of course be freely mixed, routed, and distributed with the integrated
TotalMix hardware mixer.
▪▪ THD DA: < -103 dB (< 0.0007 %)
▪▪ Input/Output level for 0 dBFS @ +4 dBu: +13 dBu
▪▪ Sample rates internal: 32, 44.1, 48, 64, 88.2, 96, 128, 176.4, 192 kHz
▪▪ 2 x FireWire 800 bilingual ports, 1 x FireWire
400 port for daisy chaining
▪▪ Frequency response AD/DA, -0.1 dB: 5 Hz – 21.5 kHz (sf 48 kHz)
▪▪ Built-In switching power supply for
worldwide operation
▪▪ Frequency response AD/DA, -1 dB: 1 Hz - 70 kHz (sf 192 kHz)
▪▪ Frequency response AD/DA, -0.5 dB: 1 Hz - 43.5 kHz (sf 96 kHz)
Fireface UC
USB
I n t e r f a c e s
36-Channel 192 kHz
USB high-speed audio interface
Specifications
▪▪ Input AD: 6 x 1/4” TRS (4 x Line, 2 x Line/Instrument), 2 x XLR/TRS Combo connector (2 x Mic/Line), all servo-balanced.
▪▪ Output DA: 6 x 1/4” TRS, servo-balanced, DC-coupled signal path. 1 x 1/4” TRS unbalanced
▪▪ Input Digital: 1 x ADAT optical or SPDIF optical, SPDIF coaxial (AES/EBU compatible)
▪▪ Output Digital: 1 x ADAT optical or SPDIF optical, SPDIF coaxial (AES/EBU compatible)
▪▪ MIDI: 2 x MIDI I/O via breakout cable (4 x 5-pin DIN jacks), for 32 channels low jitter hi-speed MIDI
▪▪ Dynamic range AD: 110 dB RMS unweighted, 113 dBA
▪▪ THD AD: < -100 dB (< 0.001 %)
▪▪ THD+N AD: < -98 dB (< 0.0012 %)
▪▪ Crosstalk AD: > 110 dB
▪▪ Dynamic range DA: 110 dB RMS unweighted, 113 dBA (unmuted)
▪▪ THD DA: -100 dB (0.001 %)
▪▪ THD+N DA: -96 dB (0.0015 %)
▪▪ Crosstalk DA: > 110 dB
▪▪ Input/Output level for 0 dBFS @ Hi Gain: +19 dBu
▪▪ Input/Output level for 0 dBFS @ +4 dBu: +13 dBu
▪▪ Input/Output level for 0 dBFS @ -10 dBV: +2 dBV
▪▪ Sample rate internally: 32, 44.1, 48, 64, 88.2 kHz, 96 kHz, 128, 176.4, 192 kHz
I/O Connectivity
18 Input / 18 Output channels
8 x Analog I/O
The “USB Compact” not only makes the leading-edge RME Fireface technology available
for every USB-featured PC and Mac computer, it also provides a unique low-latency
concept and a high grade of performance and compatibility, making the dream of the
perfect mobile pro audio recording solution come true.
The Fireface UC features all of the proven RME analog and digital circuitry. It is the only device
2 x Mic Preamp with digitally
in its class with active jitter suppression, enhanced stand-alone functionality and complete
controlled gain
controllability from the front panel, highly flexible I/Os in professional quality, and an unsurpassed
1 x ADAT I/O or 1 x SPDIF I/O (optical)
1 x SPDIF I/O (coaxial)
648-channel matrix router - at sample rates of up to 192 kHz.
USB . Made by RME. The Fireface UC has been uncompromisingly optimized for highest
performance under Windows and Mac OS. Based on a newly developed RME Hammerfall core the
2 x MIDI I/O
Fireface UC provides revolutionary ultra-low latencies even with multiple channels. The Fireface
1 x Word Clock I/O
UC is compatible to USB 3 chipsets. It uses two different firmware versions with different transfer
Swedish electronic music composer Magnus Birgersson aka Solar Fields
methods to remove current restrictions of typical USB audio interfaces. The unit’s operating mode
built a unique sonic universe with a constant shifting from high tech
1 x USB 2.0
Win or Mac can be changed directly at the unit at any time. Under both Operating Systems the
available latencies are simply sensational. The smallest buffer offered under Windows has 48
samples, under Mac OS X 14 samples.* With this RME provides a performance previously not
16
available from USB audio interfaces.
* Minimal latencies are not guaranteed as they depend on the specific computer and application.
TotalMix FX. The DSP-based hardware mixer allows fully independent routing and mixing of all
ambient flow into broken beats, powerful sequences and fragmented
Solar
Fields
loops. Often classified as ambient or electronica, Solar Fields music in fact goes further than these boundaries propelled by his talent for
sculpting hypnotic harmonics and layering sounds. The productive discography: 6 solo albums (e. g. Movements).Solar Fields is also the man
behind the in game score for Electronic Arts (EA) video game Mirror’s Edge. The center of Solar Fields studio is a Fireface 800:
“Before I used a huge mixer, it took up a lot of space so I needed to change. I got the Fireface 800 and now I can do exactly the same with the TotalMix. An
input and playback channels to all physical outputs. Up to 9 totally independent stereo submixes
amazing solution for routing and flexibility and it works flawless without any problems. This is the heart in the studio and all gears is hooked up in to it. Since
plus a luxury Control Room section offer unrivalled monitoring capabilities and unsurpassed
im a hardware freak I need a reliable solution with a lot of inputs and outputs and with excellent sound quality and this is what RME brings to me.”
routing flexibility.
www.solarfields.com
HDSPe RayDAT
PCI Express
I n t e r f a c e s
72-Channel 192 kHz ADAT & AES/EBU
PCI Express card
Differences to
HDSP 9652 (PCI card)
Features & Specifications
▪▪ All inputs and outputs work with up to 192 kHz
▪▪ Comes with DIGICheck - RME´s metering and audio analysis toolbox
▪▪ Supported sample frequencies: Internally 32, 44.1, 48, 64, 88.2, 96,
176.4, 192 kHz. Externally 28 kHz - 200 kHz
▪▪ PCI Express interface
▪▪ Additional (fourth) ADAT I/O
▪▪ ADAT inputs based on RME’s reliable Bitclock PLL
▪▪ S/PDIF and AES/EBU simultaneously
operational
▪▪ Breakout cable for coaxial SPDIF operation (included)
▪▪ Sample rates up to 192 kHz
▪▪ Automatic, intelligent master/slave clock control
▪▪ even lower latencies
▪▪ Enhanced Mixed mode: All inputs and outputs are simultaneously
operational
▪▪ Greatly enhanced TotalMix
▪▪ Unsurpassed Bitclock PLL (audio synchronization) in ADAT mode
▪▪ ZLM® (Zero Latency Monitoring) for latency-free submixes and perfect
ASIO Direct Monitoring
▪▪ S/MUX in hardware: 16 channels @ 24-bit/96 kHz or 8 channels @ 24bit/192 kHz record/playback via ADAT optical
▪▪ direct support of HDSP TCO
▪▪ Word Clock I/O via optional expansion
board
▪▪ No ADAT Sync port (D-sub)
▪▪ TotalMix: 2592 channel mixer with 42-bit internal resolution
▪▪ Extensive status windows showing mode and clock rates
▪▪ Super low jitter design: < 1 ns in all clock modes
Optional Add-Ons
▪▪ HDSP TCO: Timecode Option Module with enhanced sync capabilities for HDSPe cards. 1 x word clock I/O, 1 x video sync input
(switchable from WC in), 1 x LTC I/O
▪▪ Word Clock Module (WCM): provides a word clock input and two word clock outputs via BNC jacks.
▪▪ TEB: HDSPe RayDAT can provide up to two TDIF interfaces when using the TDIF Expansion Boards.
I/O Connectivity
36 Input / 36 Output channels
4 x ADAT I/O (optical)
1 x SPDIF I/O (coaxial)
1 x AES/EBU I/O (XLR)
2 x MIDI I/O
optional: HDSP TCO
HDSPe RayDAT is the PCI Express successor of the DIGI 9652 (known as Hammerfall DSP)
which can be regarded as the studio standard for ADAT I/O cards. Some ten thousands
of installations worldwide are proof that RME´s ADAT solutions are the perfect partners
for all software-based DAWs. Combining superb handling and stability with extremely
low latency, the addition of PCI Express and several new features make RayDAT the ideal
solution from recording up to the final mastering.
RayDAT offers no less than 4 x ADAT optical I/O, SPDIF I/O and AES/EBU I/O. All 36 inputs and
36 playback channels can be routed and mixed independently, including S/PDIF and AES/EBU,
which are simultaneously operational due to separated hardware and record/playback devices.
On top, there are 2 MIDI I/Os and TotalMix, RME’s unsurpassed DSP-based real-time mixer/router,
with hardware-calculated level metering and complete MIDI remote capability. RayDAT also
supports the optional TCO Module for LTC timecode and video clock synchronization.
The latest SteadyClockTM, RME’s own clock technology, combining professional features like
maximum jitter suppression at full varipitch capabilities and software controlled sample rates.
RME’s unique SyncCheck and AutoSync technology has evolved into the new Intelligent Clock
Control. HDSPe RayDAT measures and displays the frequency of all clock sources - even word
18
clock! Based on validity and current sample rate the system then decides which clock source
should be used, fully automated and performed in hardware. With this the HDSPe system offers
the most easiest handling of the present clocks, although having a lot digital inputs, plus the
most advanced support when configuring the clock setup.
The included DIGICheck software for Windowsand Mac turns the HDSPe RayDAT into a Spectral
Analyzer, provides professional level meters for 2, 8, or 36 channels, offers Vector Audio Scope,
Global Record Function (Windows only) and various other audio analysis tools.
RME’s secure flash update technology makes sure that firmware improvements, adjustments, and
bugfixes can be installed easily at any time.
KRAFTWERK
Aside from their ongoing global success, no other band has
influenced the electric, dance and industrial music scenes more
than Kraftwerk.
In 2002 Ralf Hütter, Florian Schneider, Fritz Hilpert and Henning Schmitz started their world-wide live tours using four laptops:
The sound is generated from the four networked SONY Vaio laptops - with all virtual instruments played live – and converted
using four Multifaces, via the PCMCIA Cardbus, to give a powerful yet warm analog sound. On the 2004/2005 world tour, an
additional Digiface connected to a YAMAHA digital desk was used to record all the live played tracks. The result was released
in June 2005 with the live album “Minimum Maximum”. This coincides with the start of the 2005 tour, which includes concerts
in the USA and all over Europe.
May 2008: Kraftwerk co-headlined the prestigious Coachella Festival in Palm Springs, together with Prince and Portishead. And
again on stage they were using the proven combination of RME Multifaces and Cardbus Systems for their Live Performance.
www.kraftwerk.com
HDSPe AIO
PCI Express
I n t e r f a c e s
38-Channel 192 kHz Multiformat
PCI Express card
Specifications
Breakout Cables
▪▪ Packet-based full-duplex communication (up to 500 MB/s transfer rate)
▪▪ Supported sample frequencies: Internally 32, 44.1, 48, 64, 88.2, 96, 176.4,
192 kHz. Externally 28 kHz - 200 kHz
▪▪ 8 buffer sizes/latencies available: 0.7, 1.5, 3, 6, 12, 23, 46, 93 ms
▪▪ All settings changeable in real-time
▪▪ Automatic and intelligent master/slave clock control
Standard analog I/O cable (included)
▪▪ Enhanced Mixed mode: All inputs and outputs simultaneously
operational
▪▪ TMS (Track Marker Support): Supports CD/DAT start-IDs and the read out
of CD subcode
▪▪ Unique status windows for record and playback, showing mode and
sample rate
▪▪ DIGICheck, RMEs unique metering and analyzing tool
▪▪ Digital inputs and outputs ground-free transformer coupled
▪▪ 3-stage hardware level control for analog inputs and outputs
* Optional balanced analog I/O cable
▪▪ Balanced analog input and output, DC-coupled signal path*
▪▪ 192 kHz / 24-bit converters. SNR 113 dB RMS unweighted, 116 dBA
▪▪ Maximum input and output level (0 dBFS @ HiGain): +19 dBu
I/O Connectivity
RME presents the world’s most versatile PCI Express audio interface - the HDSPe AIO.
This card makes the dream of an All-In-One solution for every possible audio application
18 Input / 20 Output channels
1 x Stereo Analog I/O (192 kHz)
1 x ADAT I/O (up to 192 kHz via S/MUX4)
come true. Equipped with the latest 192 kHz AD- and DA-converters for more than 112 dB
optional easy-to-install high-quality analog expansion boards and support for the Time
Code Option - all this combines into a professional ‘soundcard’ that the world has not
1 x AES/EBU I/O (192 kHz)
HDSPe AIO is the PCI Express successor of the well-known HDSP 9632. A newly developed genuine
PCI Express core consequently takes full advantage of the new format, achieving significant
performance gains in multi-track audio and lowest latency.
1 x MIDI I/O
The HDSPe AIO offers many unique features:
optional: 4 additional Analog I/Os
▪▪ Stereo analog in- and output, 24-bit/192kHz, > 113 dB SNR (optional balanced cable*)
optional: TDIF Expansion Board
▪▪ Optional analog expansion boards with 4 balanced in- or outputs
▪▪ All analog I/Os capable of 192 kHz, constant number of available channels
▪▪ 1 x ADAT digital I/O, supporting 192 kHz via S/MUX4 operation
▪▪ 1 x SPDIF digital I/O, 192 kHz-capable
▪▪ 1 x AES/EBU digital I/O, 192 kHz-capable
▪▪ Stereo headphone output, separate DA-converter and playback device
20
▪▪ Super low jitter design: < 1 ns in all clock modes
hardware mixing/routing, SteadyClock for jitter suppression of external clock signals,
seen before.
optional: HDSP TCO
device
signal to noise ratio, simultaneously operational SPDIF and AES/EBU ports, full TotalMix
1 x SPDIF I/O (192 kHz)
1 x Phones Out (separate DAC, 192 kHz)
▪▪ Low impedance headphone output (75 ohm), separate DAC and playback
▪▪ So up to 18 inputs and 20 outputs can be used simultaneously!
▪▪ MIDI I/O with 16 channels of hi-speed MIDI via breakout cable
▪▪ TotalMix: 760 channel Mixer with 42 bit internal resolution
▪▪ Native PCI Express - no PCI to PCI Express bridge used
Thanks to RME’s secure flash update technology, firmware improvements, adjustments, and
bugfixes can be installed easily at any time. The card ships in a basic version including two RCA/
phono breakout cables (headphone: TRS jack). XLR breakout cables are available as an option
(headphone: Neutrik TRS locking jack), turning analog into balanced mode*.
Optional Add-Ons
Differences to
HDSP 9632 (PCI card)
▪▪ HDSP TCO: Timecode Option Module with enhanced sync capabilities for
HDSPe cards. 1 x word clock I/O, 1 x video sync input (switchable from WC
in), 1 x LTC I/O.
▪▪ PCI Express interface
▪▪ Word Clock Module (WCM): provides a galvanically isolated word clock input
and two word clock outputs via BNC jacks.
▪▪ TEB: HDSPe AIO can provide a TDIF interface when using the TDIF Expansion
Board.
▪▪ AI4S-192 AIO and AO4S-192 AIO: Add 4 balanced inputs or 4 balanced
outputs each, in the same technology and quality as the onboard analog I/O.
▪▪ S/PDIF and AES/EBU simultaneously
operational
▪▪ even lower latencies
▪▪ direct support of HDSP TCO
▪▪ independent phones out with
additional DAC
HDSPe PCI Card
HDSPe ExpressCard
PCI Express
PCI
I n t e r f a c e s
I n t e r f a c e s
HDSP PCI Card
HDSP CardBus Card
PCI Express / ExpressCard/34 interfaces
for desktop and notebook computers
PCI / Cardbus interfaces
for desktop and notebook computers
The HDSPe PCI Card and the HDSPe ExpressCard are the PCI Express versions of its PCI predecessors. Built on RME’s famous Hammerfall
In the year 2001 RME started a revolution in mobile audio recording: the
DSP features and quality, the new PCI Express core ensures full compatibility and maximum performance with this latest high-speed serial
HDSP System, consisting of a PCI or CardBus card plus an external I/O-box has
bus technology found in all newer motherboards and computers.
been the world’s first audio system, operating at both desktop and laptop.
Both cards uses a native PCI Express core, which consequently takes full advantage of the new format, achieving significant performance gains in
And the world’s first professional multitrack system for notebooks at all. Today
multi-track audio and lowest latency. It operates in combination with Multiface II, Multiface, Digiface and the RPM DJ interface. RME is especially proud
on the fact that all users of RME interfaces can easily expand their system so that it operates with the latest and fastest PCI Express computers. As
additional option the HDSPe PCI Card can be used directly with RME’s Time Code Option Module, offering a SMPTE controlled operation.
The connection between PCIe card and I/O box is established using ordinary FireWire cable (IEEE 1394, 6-pin). The data transfer does not use Firewire
protocol, but RME’s own bus protocol. The supplied cable is 4 m (12 ft.) long. The PCIe card also operates as power supply for the attached I/O-box.
As the ExpressCard standard does not provide sufficient power to an attached I/O box, the card comes with a compact professional switching power
supply. A car battery cable is also included for additional mobile applications.
we are proud to look back and conclude: the HDSP system has become a
true ‘industry standard’. Thanks to continuing firmware and driver updates it
stayed a cutting-edge product, still offers un-beaten performance, and still
enjoys great popularity among the users.
Based on the legendary Hammerfall PCI core with its innovative zero CPU load
technology, the RME PCI core developed for Digiface, Multiface and RPM is optimized
for even higher performance. Thanks to the latest chip technology, internal hi-speed
RME´s PCI Card and ExpressCard/
CardBus family provides simply the
best interfaces for professional audio
- outperforming other serial interface
techniques that often cannot deliver
the required bandwidth nor the
desired compatibility.
No other manufacturer offers such
a flexible, robust, performing and
expandable solution.
RAM can be used faster and more efficient than external SRAM.
The PCI engine of the Hammerfall DSP System is built on a Zero wait state PCI
Specifications HDSPe PCI Card/ExpressCard
Differences to PCI cards
▪▪ Short PCI Express card / ExpressCard/34 format (standard 34 mm size)
▪▪ PCI Express interface
highest compatibility by being 100% Plug & Play compatible under Windows and
▪▪ 1 Lane PCI Express endpoint device (no PCI Express to PCI bridge), revision 1.1
▪▪ even lower latencies
Mac OS, and being able to share interrupts. The card itself will only use one interrupt
▪▪ 2.5 Gbps line speed
▪▪ direct support of HDSP TCO
Busmaster core. With up to 130 MB/s transfer rate in both directions the maximum
performance available on the 32 bit PCI bus is used. Additionally the card offers
▪▪ Packet-based full-duplex communication (up to 500 MB/s transfer rate)
(HDSPe PCI card only)
▪▪ Input / Output: IEEE 1394 connector (RME protocol)
22
(IRQ) for all functions (audio/MIDI).
The connection between PCI card and I/O box is established using ordinary FireWire
cable (IEEE 1394, 6-pin). The data transfer does not use FireWire protocol, but RME’s
own bus protocol. The supplied cable is 4 m (12 ft.) in length. The PCI card operates
as power supply for the attached I/O-box.
All four cards support these external I/O boxes:
Multiface
Multiface II
Digiface
RPM
23
Multiface II
PCI
I n t e r f a c e s
36-Channel 96 kHz
Multiformat audio interface
Specifications
▪▪ Dynamic ratio analog AD: 111.5 dB(A), DA: 112 dB(A)
▪▪ THD+N AD: -98 dB (0,0012%), DA: -97 dB (0,0014%)
▪▪ Analog level @ 0 dBFS (set by front panel switch): +2 dBV, +13 dBu, +19 dBu
▪▪ Dynamic ratio stereo monitor output: 119 dB(A), 119 dBA, output impedance 30 Ohm
▪▪ Input: 8 x line (1/4” TRS jacks), 1 x optical (TOSLINK), 1 x coaxial (RCA), 1 x MIDI, Word Clock (BNC)
▪▪ Digital input formats: SPDIF, AES/EBU (Consumer, Professional), ADAT optical
▪▪ Outputs: 8 x line (1/4” TRS jacks), 1 x optical (TOSLINK), stereo analog line (TRS), 1 x coaxial (phono), 1 x MIDI, Word Clock (BNC)
▪▪ Digital format Output: SPDIF, AES/EBU (Consumer/Professional), ADAT optical
▪▪ 1 x hi-power analog line/headphone output, separate output for independent submix
▪▪ Supported sample rates: 32, 44.1, 48, 88.2, 96 kHz, variable
▪▪ All settings changeable in real-time
▪▪ Automatic, intelligent master/slave clock control
▪▪ Unsurpassed Bitclock PLL (audio synchronization) in ADAT mode
▪▪ Enhanced Zero Latency Monitoring for latency-free submixes and perfect ASIO Direct Monitoring
▪▪ Comes with DIGICheck, RME’s ultimate measurement, analysis and test tool
▪▪ Hardware level calculation: freely scalable level meters, peak and RMS calculation without CPU load
▪▪ TotalMix: 720 channel mixer with 40 bit internal resolution. MIDI remote controllable.
▪▪ S/MUX poured in hardware: 4 channels 24-bit/96 kHz for record and playback via ADAT optical
I/O Connectivity
The world’s most successful analog/digital interface continues its successful career: RME’s
Multiface II offers the best possible performance in terms of low-latency operation and
CPU load, thanks to its interface options which still surpass current serial technologies
18 Input / 18 Output channels
like USB or FireWire. The compact 9.5” box is not only called ‘multi’ because of its number
8 x Analog I/O (96 kHz)
of audio channels, but also because of the variety of digital audio formats that it supports.
1 x ADAT I/O (at 96 kHz via S/MUX)
1 x SPDIF I/O (96 kHz)
1 x Stereo Analog Output
(separate for Submix/Phones)
Based on RME’s award-winning Hammerfall technology and equipped with the latest circuit
Clawfinger
designs of the Fireface 800, the Multiface II offers ADAT optical I/O, SPDIF I/O, MIDI I/O, word
Clawfinger have been around since 1993 when they
clock I/O and a separate hi-power monitor output. On top there are 8 analog inputs and outputs,
released ”Deaf Dumb Blind” which made quite a buzz
balanced and 24-bit/96 kHz. All this can be used on laptops as well as on desktop computers with
around the world. After that they produced six more albums,
lowest latency and minimal CPU load.
sold around two million copies, and performed close to
The reference level of the analog inputs and outputs can be changed by two separate switches
one thousand live shows, including more than a hundred
1 x MIDI I/O
on the front panel. All inputs and outputs are operational at the same time. The incorporated
different festivals around the world.
1 x Word Clock I/O
digital real-time mixer TotalMix™ offers unlimited mixing and routing for all I/Os – from multiple
When Clawfinger work in their studio, they use the very
independent submixes to realtime integration of external effects. And the high-quality 24 bit/96
same Multiface II, but connected to a Dual Core Athlon that’s located in Studio 2 during the songwriting process. When everything is ready
kHz analog line/headphone output lets you directly monitor your mix.
to be recorded for real, they take that computer to Studio A and plug it into a Digiface that’s connected to a Mackie D8B with 24 channels of
The Multiface II connects to a computer either via RME’s HDSP PCI and CardBus card (PCI), or via
Adat lightpipes. Complete compability from the demo, to the finished album, to the Live show.
HDSPe PCI and ExpressCard (PCI Express). These are sold separately and also available as bundle
“Jocke Skog (Keyboards) says: “Through the years, my keyboard/loop combination have gone through the evolution of sample playing technology. From
with the Multiface II. A special Disconnect Mode realizes standalone applications like AD/DA-
an Akai s1000 with 8mb of RAM, to a Laptop with Gigabytes of RAM. To the highest reliability and soundquality, I need a soundcard I can trust, because
converter, digital format converter, analog/digital mixer or submixer.
unexpected things will, and are going to happen. After I got the RME Multiface I, it’s not the soundcard that is the problem. Now if only RME could make
Being part of the HDSP system series, the Multiface II comes with drivers for Windows 7/2000/
guitar strings of the same quality …”
XP/Vista (multi-client operation of WDM, GSIF and ASIO) and Mac OS X (Core Audio, Core MIDI).
www.clawfinger.net
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The unit’s performance and the dependability of its drivers provide the same reliability for both
mobile and studio use.
HDSP 9652
PCI
I n t e r f a c e s
52-Channel 96 kHz
ADAT PCI Card
Specifications
▪▪ Input: 3 x optical (TOSLINK), 1 x coaxial (RCA), 2 x MIDI, Word Clock (BNC)
▪▪ Input format: SPDIF, AES/EBU (Consumer, Professional), ADAT® optical
▪▪ Output: 3 x optical (TOSLINK), coaxial (RCA), 2 x MIDI, word clock (BNC)
▪▪ Output format: SPDIF, AES/EBU (Consumer/Professional), ADAT® optical
▪▪ Supported sample rates: 32, 44.1, 48, 88.2, 96 kHz, variable
▪▪ All settings changeable in real-time
▪▪ Automatic and intelligent master/slave clock control
▪▪ Enhanced Mixed mode: All inputs and outputs simultaneously operational
▪▪ Unsurpassed Bitclock PLL (audio synchronization) in ADAT mode
▪▪ Enhanced Zero Latency Monitoring for latency-free submixes and perfect ASIO Direct Monitoring
▪▪ Peak- and RMS calculation directly in hardware for 78 level meters with zero CPU load
▪▪ TotalMix: 1352 channel Mixer with 40 bit internal resolution
▪▪ S/MUX poured in hardware: 12 channels 24-bit/96 kHz for record and playback on ADAT optical
▪▪ Comes with DIGICheck, RME’s ultimate measurement, analysis and test tool
Optional Add-Ons
▪▪ TEB: The HDSP 9652 can provide up to two TDIF interfaces when using the TDIF Expansion Boards.
I/O Connectivity
26 Input / 26 Output channels
3 x ADAT I/O
1 x SPDIF I/O
2 x MIDI I/O
Word Clock I/O
1x ADAT Sync In
optional: TDIF Expansion Board
The HDSP 9652 can be regarded as the studio standard digital I/O card, which turns every
computer into a powerful Digital Audio Workstation (DAW). The PCI card is based on the
award-winning Hammerfall DSP technology, combining superb handling and stability
with extremely low latency. All 26 input and 26 playback channels can be routed and
mixed independently making it the ideal interface to any ADAT I/O-equipped mixer, or to
RME’s high-end analog devices like the ADI-8 DS/QS or the OctaMic II.
HDSP 9652 offers 3 x ADAT optical I/O, ADAT-Sync In, SPDIF I/O and Word Clock I/O. On top, there
are 2 MIDI I/Os and TotalMix, a DSP-based real-time mixer/router, with hardware-calculated level
metering and complete MIDI remote capability.
The HDSP 9652 also supports the TDIF Expansion Board. Two internal ADAT inputs and outputs
allow you to realize up to two TDIF ports directly inside the computer.
Thanks to its unique Zero CPU Load technology Hammerfall DSP guarantees highest performance
and lowest latency together with full flexibility!
When working with several digital sources it is not only necessary to know if these are properly
locked, but also if they are totally synchronized. RME’s exclusive SyncCheck® checks all input
signals and displays their actual state, and thanks to Intelligent Clock Control (ICC) you have all
clocks and states under control - with ease.
26
A display of the time code at the ADAT Sync input (D-sub) offers a quick check of the communication
between the external device and the Hammerfall.
The HDSP 9652’s Secure BIOS Technology allows to perform hardware updates via software/
driver without any risk.
Darren Rahn
Producer and saxophonist Darren Rahn is one of the most
versatile and unique young artists in contemporary jazz. As
one of the smooth jazz genre´s hottest producers, Darren has
dominated the Billboard and R&R Charts over the past few
years. He recently had three consecutive #1 productions on
the coveted R&R smooth jazz charts, holding the #1 position
with three different artists (Dave Koz, Eric Darius, Tim Bowman)
from September all the way through the end of 2008. That´s
14 consecutive weeks at #1. After producing a slew of #1 and
top five hits as a producer, Darren achieves #1 on Billboard as a
solo artist with the radio single “Talk of the town” from the 2009
album “Talk of the Town”.
After producing a slew of #1 and top five hits as a producer, Darren achieves #1 on Billboard as a solo artist with the radio single “Talk of the
town” from the 2009 album “Talk of the Town”. RME products were extensively used on all of these current top ten hits including the two #1
tunes that Darren also mixed (Dave Koz, Eric Darius).
“My RME gear is outstanding! The sound quality is excellent and the Total Mix software is incredibly flexible. I love the rock solid reliability
and low latency performance - it’s the heart of my studio.”
www.darrenrahn.com
HDSP 9632
PCI
I n t e r f a c e s
32-Channel 192 kHz
Multiformat PCI Card
Specifications
Breakout Cables
▪▪ Supported sample frequencies: Internally 32, 44.1, 48, 64, 88.2, 96, 176.4,
192 kHz. Externally 28 kHz - 200 kHz
▪▪ Automatic and intelligent master/slave clock control
▪▪ All settings changeable in real-time
▪▪ Enhanced Mixed mode: All inputs and outputs simultaneously
operational
Standard analog I/O cable (included)
▪▪ TMS (Track Marker Support): Supports CD/DAT start-IDs and the read out
of CD subcode
▪▪ Unique status windows for record and playback, showing mode and
sample rate
▪▪ Digital inputs and outputs ground-free transformer coupled
▪▪ ZLM® (Zero Latency Monitoring) for latency-free submixes and perfect
ASIO Direct Monitoring
▪▪ 3-stage hardware level control for analog inputs and outputs
▪▪ Balanced analog input and output, DC-coupled signal path*
▪▪ 192 kHz / 24-bit converters. SNR 110 dB RMS unweighted, 113 dBA
▪▪ Maximum input and output level (0 dBFS @ HiGain): +19 dBu
Standard digital I/O cable (included)
▪▪ Analog input and output level configurable via software
I/O Connectivity
16 Input / 16 Output channels
1 x Analog I/O (192 kHz)
1 x ADAT I/O (at 96 kHz via S/MUX)
RME presents the world’s most versatile PCI Audio Interface - the Hammerfall DSP 9632.
This card makes the dream of an All-In-One solution for every possible application come
▪▪ SteadyClock®: Jitter-immune, super-stable digital clock
with more than 110 dB signal to noise ratio, all inputs and outputs simultaneously
▪▪ Super low jitter design: < 1 ns in all clock modes
operational, easy-to-install optional hi-quality analog expansion boards, the famous
TotalMix, a newly developed clock section with maximum jitter suppression of external
clock signals - all this combines into a unique ‘soundcard’ that simply didn’t exist before.
The HDSP 9632 offers a wealth of features:
1 x MIDI I/O
▪▪ Balanced stereo analog in- and output, 24-bit/192 kHz, > 110 dB SNR
▪▪ Optional analog expansion boards with 4 balanced in- or outputs
▪▪ All analog I/Os capable of 192 kHz, constant number of available channels
optional: 4 additional Analog I/Os
▪▪ 1 ADAT digital I/O, supporting 96 kHz S/MUX operation
optional: Word Clock Module
▪▪ 1 SPDIF digital I/O, 192 kHz-capable
optional: TDIF Expansion Board
▪▪ 1 Breakout cable for coaxial SPDIF
▪▪ Up to 16 I/Os can be used simultaneously!
▪▪ 1 Stereo headphone output, parallel to the analog out, additional level settings
▪▪ 1 MIDI I/O with 16 channels of hi-speed MIDI via breakout cable
▪▪ DIGICheck, RME’s unique metering- and analysing tool
28
▪▪ Headphone Speaker Protection minimizes noise during power on/off
true. As usual, RME has not made any compromises: Latest 192 kHz AD- and DA-converters
1 x SPDIF I/O (192 kHz)
1 x Phones Output
▪▪ Low impedance headphone output (75 ohm), step less output level
through software faders
▪▪ Includes freely scalable level meters with peak- and RMS calculation directly in
hardware
▪▪ TotalMix: 512 channel mixer with 40 bit internal resolution
The HDSP 9632 ships in a basic version including two RCA/phono breakout cables (headphone:
TRS jack). Therefore all analog I/Os and the SPDIF I/O are unbalanced. XLR breakout cables are
available as an option (headphone: Neutrik TRS locking jack), turning analog and AES/EBU into
balanced mode.
▪▪ Comes with DIGICheck, RME’s ultimate measurement, analysis and test
tool
* Optional balanced analog I/O cable
Optional Add-Ons
▪▪ Word Clock Module (WCM): provides a word clock input and two word
clock outputs via BNC jacks.
▪▪ TEB: HDSP 9632 can provide an 8-chanel TDIF interface.
▪▪ AI4S-192 AIO and AO4S-192 AIO: An easy to handle ribbon cable
connects the optional AI4S-192 AIO and AO4S-192 AIO. These analog
expansion boards having one bracket with 4 stereo TRS jacks offer the
same performance as the on-board stereo analog I/O of the HDSP 9632:
up to 192 KHz, balanced and 3 different reference levels. With this a
maximum of 6 inputs and/or outputs can be achieved.
* Optional AES/EBU and SPDIF I/O cable
Time Code Option
Expansion Boards
Optional HDSPe synchronisation module
AI4S-192 AIO and AO4S-192 AIO
Optional Add-Ons
4-Channel analog I/O modules with 192 kHz support
HDSP 9632 / HDSPe AIO
These option cards for the HDSP 9632 and
HDSPe AIO are analog expansion boards,
designed as bracket with 4 stereo TRS jacks each. AI4S-192 AIO provides four
servo-balanced inputs, AO4S-192 AIO provides four servo-balanced outputs.
With this a maximum of 6 (including the stereo I/O of the card) inputs and/or
outputs on the HDSPe AIO can be achieved.
The converters offer the same performance as the on-board stereo analog I/O:
up to 192 kHz, balanced connection and the choice of three different reference
levels, selected in the Settings dialog. Both modules can be used single or in
combination. The display of the channels in TotalMix changes accordingly.
TEB
TDIF Expansion Board
HDSP 9632 / 9652 and HDSPe RayDAT / AIO
The optional module adds
an 8-Channel TDIF interface
to all ADAT-capable RME cards. Special features include manual choice of clock
reference, status LEDs and a TDIF word clock output.
I/O Connectivity
1 x Word Clock I/O
1 x Video Sync Input
(alternative to WC In)
1 x LTC I/O
The TCO module is an optional extension for selected RME cards. Placed in a free slot of
The TEB is designed for maximum flexibility. Used with the HDSPe RayDAT, AIO
the computer chassis the TCO will be connected with the HDSPe card via a flat ribbon
and HDSP 9652, it can even be used at sample rates of 88.2 kHz and 96 kHz.
cable. The small module adds a Word Clock input to the HDSPe card, and offers a
Meeting the TDIF specification, Double Line mode uses two channels in single
synchronization to LTC and video.
speed to get one channel in Double Speed. Therefore at 88.2/96 kHz up to 4
The TCO has a combined switchable Word Clock/Video input (BNC) as well as an LTC input (BNC).
channels are available.
The Word Clock / Video input can comfortably be terminated (relay-controlled) with a 75 Ohm
The integrated Clock Select Switch selects the TDIF reference clock, thus avoids
terminator from the card’s Settings dialog. The TCO also features an additional LTC output (BNC)
any clocking problems even with problematic TDIF devices.
with two level settings (configurable via jumper).
Thanks to SteadyClock, the TCO not only extracts absolute positions from LTC, but also a very
clean low-jitter word clock from LTC and video. Thus a sample accurate timecode synchronization
Supported Cards
▪▪ all RME HDSPe PCI
Express Cards
▪▪ HDSP AES-32
▪▪ Other cards in
multi-card usage
30
WCM
to audio or video sources is assured.
LTC can be derived and generated in all common formats, i.e. 24, 25, 30, and 29.97 frames; dropframe or non-drop-frame. Commonly used Pull-Up and Pull-Down Formats (+/- 0.1% and +/- 4%)
can be utilized, and PAL and NTSC video formats will be automatically detected and processed.
Word Clock Module
HDSP 9632 / HDSPe RayDAT / AIO
The 9632 Word Clock Module provides
a galvanically isolated word clock
The received Time Code can be sent to the audio or video application as ASIO Positioning Protocol
input and two word clock outputs (BNC connectors). Both outputs have their
(APP) or MTC. An application can send APP or MTC to the TCO, which will generate LTC on hardware
own driver stages, providing an extremely low jitter signal. A push switch
level with lowest jitter (no software/driver routine).
activates 75 Ohms termination for the hi-impedance input. SteadyClock, part
One single TCO can be used with different HDSPe cards at the same time, if connected to a
of the PCI card, guarantees an excellent performance in all clock modes. Its
supported card.
highly efficient jitter suppression refreshes and cleans up any clock signal, and
provides it as reference clock at the two BNC outputs.
The module is internally connected to the PCI card via a flat ribbon cable. Thanks
to several LEDs (power, termination, LOCK) and the highly integrated concept
of installation, first operation and usage are simple even for the inexperienced
user.
31
OctaMic II
QuadMic
Preamps
8-Channel 192 kHz Mic Preamp and AD to AES/ADAT converter
4-Channel microphone preamp
Three in one:
The OctaMic II provides 8-channel 192 kHz / 24-bit AD conversion with eight hi-
Excellent signal to noise ratio and sophisticated discrete Class-A technology make the
High-End microphone preamp,
class microphone and line pre-amplification inputs, featuring a combination of
QuadMic a first choice for superior studio recordings. Due to its compact dimensions
sophisticated components and approved RME technology. Lowest distortion,
and ability to run on batteries, the QuadMic is also the ideal microphone preamp for
excellent signal to noise ratio and perfectly linear frequency response transmit and
all mobile recording situations.
High-End line signal preamp,
amplify the microphone signals truly unchanged.
I/O Connectivity
4 x Mic Preamp Inputs
(XLR/TRS combo jack)
Each of the 4 channels features balanced microphone and line inputs with Neutrik XLR/TRS
8-channel AD-Converter for
OctaMic II offers 8 balanced XLR mic / line inputs via Neutrik XLR/TRS combo jacks.
combo jacks, switchable 48V phantom power, phase reversal and a low cut filter. All channels
4 x Line Output
different analog sources.
Each channel has switches for 48V phantom power, a low cut filter and phase reversal.
are also equipped with LEDs for signal presence, clip state, and activated phantom power.
Line or battery powered operation
Amplification can be set between 6 and 60 dB. LEDs for signal, clip, and activated phantom
The input amplification can be set from 10 to 60 dB. The balanced line level output signals
power give a complete overview on the unit’s status. When the special Clip Hold mode is
are located on the rear of the unit as 4 stereo TRS jacks. The output reference level can be
I/O Connectivity
activated, any detected clipping will cause the corresponding LED to flash once per second.
chosen between HiGain or +4 dBu, making the QuadMic fully compatible to RME‘s ADI-8
With this, the user gets a long-term peak detection, and no longer needs to constantly watch
series and all HDSP(e) series products with analog inputs.
8 x Mic / Line Preamp Input
the LEDs. At the same time momentary overloads are still displayed correctly.
(XLR/TRS Combo)
Frontside switches include power on/off and output level, for a choice of -10 dBV, +4 dBu
inputs. Since the unit runs on supply voltages from 8-38V DC and 7-27V AC, it can operate
or Hi Gain (+19 dBu) as reference level. This unusual feature offers two advantages. First,
on virtually any power source available including batteries and rechargeable batteries. RME‘s
the reference level can be easily switched to match any of RME’s current interface devices,
universal rackmount holder can be used to fit the QuadMic into any 19“ rack.
8 x Line Output (TRS balanced)
8 x AD-converter
from HDSP 9632 through Multiface up to the renowned ADI-8 series converters. Second, the
(up to 192 kHz)
Signal to Noise ratio is optimized, and the Clip-LED will exactly match the ones of the ADI-8
2 x ADAT Output
(S/MUX, up to 96 kHz)
(2 dB below 0 dBFS).
jacks. The specially developed, internal hi-performance switch mode power supply lets the
OctaMic II operate in the range of 100V to 240V AC. It is short-circuit-proof, has an integrated
(D-sub, up to 192 kHz)
line filter, is fully regulated against voltage fluctuations, and suppresses mains interference.
32
The included professional switching power supply offers safe operation world wide, even
when the power lines are weak or noisy.
The balanced line level output signal is available at the back of the unit via 8 stereo TRS
4 x AES/EBU Output
1 x AES/SPDIF Sync Input
The QuadMic complements a Fireface or a Multiface II by adding external microphone
Specifications
a D-sub 25 connector (4 AES/EBU outputs, up to 192 kHz). The digital part can be clocked
▪▪ Power supply: Operates with voltages ranging from 8-38 V
DC, 7-27 V AC.
Operation with practically any power source, including
batteries and rechargeable batteries.
internally (master) and externally via word clock, AES/EBU and SPDIF.
▪▪ 100% hum-free through internal switching regulators
RME’s outstanding SteadyClockTM ensures perfect AD-conversion, as jitter on the external
sync-sources is nearly completely removed. All settings are done via DIP-switches on the
▪▪ High-quality switching power supply included, for
worldwide operation at 100-240 Volt
back of the OctaMic II. Analog outputs and both digital outputs operate fully simultaneously.
▪▪ Max. input level: +11 dBu
The 8-channel AD-conversion of the OctaMic II operates at up to 192 kHz. The digitized
signal is available simultaneously at the double ADAT output (S/MUX, up to 96 kHz), and at
The choice of reference level affects the analog outputs only, the signal/clip indication and
the AD-conversion will react only to the Gain pots.
▪▪ Max. output level: +21 dBu
▪▪ SNR: 129 dB EIN @ 150 Ohm
▪▪ THD: < 0.006% @ 30 dB Gain
33
▪▪ Wide frequency response with special RF input filters
▪▪ Frequency response: 5 Hz - 200 kHz, - 0.5 dB
▪▪ Hi-pass filter at 80 Hz, 18 dB/oct
▪▪ Phantom power +48 Volt switchable per channel
ADI-8 DS
Converters
Analog <> Digital
8-Channel 96 kHz ADAT / TDIF AD/DA converter
I/O Connectivity
8 x Analog I/O
2 x ADAT I/O
2 x TDIF I/O
1 x Word Clock I/O
The ADI-8 DS is an 8-channel AD/DA converter with reference approach. The compact
19“ 1U rackmount enclosure includes several outstanding features, like Intelligent Clock
Control (ICC), SyncCheck®, SyncAlign®, TDIF/ADAT converter and Bit Splitter. Use of the
latest 24 bit converters, with 128 times oversampling, results in 117 dBA true dynamic
range. The AD- and DA-circuits automatically operate either independently or linked. All
digital inputs and outputs operate at full 24-bit resolution.
The ADI-8 DS’ astonishing capabilities are easy to explore thanks to a simple and easy to
understand user interface. Setting up the ADI-8 DS starts with an input sensitivity and output
level that perfectly suits your needs and maintains the excellent dynamic range of the AD
converters. The Input and Output Level option lets you choose between Lo Gain/Hi Gain, +4 dBu,
-10 dBV. Each analog input and output has its own ‚Signal Present‘ LED which works in an analog
fashion (brighter at higher levels). DS stands for Double Speed, meaning double sample rate.
The combination HDSP/ADI-8 DS allows DVD-compatible Hi-End recordings (up to 8-channel
recording at 96 kHz), at an astonishingly low price.
RME‘s Intelligent Clock Control (ICC) provides professional features you won‘t find anywhere else.
First set the clock of the AD-Converter, choose between INTERNAL, EXTERNAL (BNC word clock)
or INPUT (the digital input signal ADAT or TDIF.) The internal clock can be 44.1/48 kHz or - when
34
DS is active - 88.2 or 96 kHz. The DA-Converter section has the same settings available.
The ADI-8 DS Copy Mode routes the currently selected digital input to the digital outputs ADAT
and TDIF simultaneously. This way the unit not only turns into a superior ADAT/TDIF converter, but
also allows copying between devices of the same format and a distribution to different devices.
For example an ADAT signal can be distributed to 2 ADAT plus 2 TDIF outputs simultaneously.
Features
Specifications
▪▪ 8 channel AD-converter, completely symmetrical
and DC-coupled audio path, 117 dBA SNR AD
▪▪ Input AD: 1/4” TRS jack and 25 pin D-type connector, servo
balanced, completely symmetrical DC-coupled audio path
▪▪ 8 channel DA-converter, balanced output, 112
dBA DA
▪▪ Output DA: 1/4” TRS jack and 25 pin D-type connector, servo
balanced, DC-coupled audio path SNR AD: 117 dB(A)
▪▪ ADAT optical inputs, 24-bit, based on RME’s
unsurpassed Bitclock PLL for sample accurate lock
▪▪ Input DA/Output AD: ADAT optical, TDIF-1 (both 24-bit), word clock
▪▪ ADAT optical outputs, 24-bit, fully compatible to
all ADAT optical inputs
▪▪ TDIF-1 interface, 24-bit, Low Jitter PLL, Emphasis
support, DA-88 compatible
▪▪ THD AD: < -110 dB (< 0.00032 %)
▪▪ THD+N AD: < -104 dB (< 0.00063 %)
▪▪ Crosstalk AD: > 130 dB
▪▪ SNR DA: 112 dB(A) unmuted
▪▪ Bit Split/Combine, Copy Mode, ADAT and TDIF
usable in all combinations
▪▪ THD DA: < -104 dB (< 0.00063 %)
▪▪ Copy Mode adds a unique 24-bit ADAT to/from
TDIF converter
▪▪ Crosstalk DA: > 110 dB
▪▪ Digital Patchbay operation, allows to copy,
duplicate and distribute the digital input signals
▪▪ Input/Output level at 0 dBFS @ +4 dBu: +13 dBu
▪▪ THD+N DA: < -102 dB (< 0.0008 %)
▪▪ Input/Output level at 0 dBFS @ Hi Gain: +19 dBu
▪▪ Dither available, for full compatibility to 16-bit
even at 96 kHz
▪▪ Input/Output level at 0 dBFS @ -10 dBV: +2 dBV
▪▪ SyncCheck, unique technology to check clock
synchronisation
▪▪ Frequency response AD/DA -0.5 dB: < 5 Hz - 44.8 kHz (sf 96 kHz)
▪▪ Virtual Sample Buffer, allows to use the internal
Low Jitter Clock (quarz crystal) even for DAconversion
▪▪ Automatic storage of all settings
▪▪ Frequency response AD/DA -0.1 dB: 5 Hz - 21.5 kHz (sf 48 kHz)
▪▪ Power supply: internal, 100 V-240 V AC, 100 V-240 V AC
ADI-2
Converters
Analog <> Digital
Application Examples
▪▪ High-End analog to digital / digital to analog converter with up to 192 kHz mastering grade quality
▪▪ High-End line signal preamp
2-Channel 192 kHz
AD/DA converter
▪▪ SPDIF or ADAT signal refresher/jitter remover with analog monitoring
▪▪ SPDIF to ADAT (stereo) converter
▪▪ ADAT to SPDIF (stereo) converter
Specifications
▪▪ Input AD: 1/4” TRS jack and XLR via Neutrik combo jacks, servo-balanced, completely symmetrical, DC-coupled signal path
▪▪ Output AD: ADAT optical or SPDIF optical, SPDIF coaxial, AES/EBU compatible
▪▪ Input DA: ADAT optical or SPDIF optical, SPDIF coaxial, AES/EBU compatible
▪▪ Output DA: 1/4” TRS jack and XLR, servo-balanced, DC-coupled signal path
▪▪ Dynamic range AD: 110 dB RMS unweighted, 113 dBA
▪▪ Dynamic range DA: 116 dB RMS unweighted, 119 dBA (unmuted)
▪▪ THD AD: < -110 dB (< 0.00032%)
▪▪ THD+N AD: < -104 dB (< 0.00063%)
▪▪ Crosstalk AD: > 110 dB
▪▪ THD DA: < -103 dB (< 0.0007 %)
▪▪ THD+N DA: < -100 dB (< 0.001 %)
▪▪ Crosstalk DA: > 110 dB
▪▪ Input/Output level, 0 dBFS @ Hi Gain: +19 dBu
▪▪ Input/Output level, 0 dBFS @ +4 dBu: +13 dBu
▪▪ Input/Output level, 0 dBFS @ -10 dBV: +2 dBV
I/O Connectivity
The ADI-2 is a compact and flexible 2-channel reference-class AD/DA-converter. It offers
AD/DA conversion with up to 192 kHz in top notch quality. The ADI-2 is remarkably
versatile as it is able to handle digital signals in SPDIF and AES/EBU as well as in the ADAT
▪▪ Sample rate internally: 32, 44.1, 48, 64, 88.2 kHz, 96 kHz, 128, 176.4, 192 kHz
▪▪ Sample rate externally: 28 kHz - 200 kHz
▪▪ Frequency response AD/DA, -0.1 dB: 5 Hz - 21.5 kHz (sf 48 kHz)
▪▪ Frequency response AD/DA, -0.5 dB: < 5 Hz - 43.5 kHz (sf 96 kHz)
1 x Stereo Analog I/O
format. Key features include balanced inputs and outputs, monitoring via headphone
1 x ADAT or SPDIF I/O
out, SteadyClock™-controlled converters and 3-stage hardware controlled input and
▪▪ Accepted power supply voltage DC 8 V - 28 V, AC 8 V - 20
output levels.
▪▪ Switching power supply: included, for worldwide operation at 100-240 Volt
(optical and coaxial, AES/EBU
compatible)
▪▪ Frequency response AD/DA, -1 dB: < 5 Hz - 70 kHz (sf 192 kHz)
The ADI-2 is equipped with a balanced stereo line input with two Neutrik XLR combo jacks, a
balanced stereo line output with XLR plus separate TRS jacks in parallel, and an adjustable highpower headphone output. The volume pot on the front optionally controls not only the front
headphone output, but the rear line outputs as well.
With hard to beat technical
The ADI-2 uses the latest generation of AD/DA-converters capable of up to 192 kHz sampling
specifications and its superior
frequency at S/N ratios up to 119 dBA. The analog inputs and outputs use the same circuitry as
sound quality the ADI-2 not
RME’s famous ADI-8 DS to ensure outstandingly low noise and distortion. Three different settings
only made its way into various
for the input and output levels are available to make perfect adjustments in the analog domain.
top-studios, but also into the
A further highlight is SteadyClock™, a proprietary clock technology for maximum jitter
audio reference charts of high-
suppression. SteadyClock™ guarantees superb sound quality completely independent from the
end Hi-Fi enthusiasts all over
quality of the current reference clock.
the world.
But the ADI-2 has more to offer than tremendous sound, it also gives you exciting digital
36
connectivity. Its transformer-balanced coaxial (RCA) SPDIF I/O has switchable channel status to
make it fully AES/EBU compatible. The optical TOSLINK I/Os can handle up to 192 kHz and also
serve as ADAT I/O with up to 96 kHz sample rate. You can even use SPDIF input and ADAT output
or vice versa in AD/DA mode. Furthermore the unit can operate as digital to digital converter
with added monitoring. In this mode, the digital input signal is available at the digital and analog
outputs.
Following RME´s ‘Universal Power Supply‘ philosophy the ADI-2 comes with an external switching
power supply. Its additional internal switching power supply has been specially designed and
optimized for audio applications. It even runs on batteries and rechargeable batteries.
BIS
Classical music has few geographical limitations and the
Swedish label BIS now travels all over the world to make
recordings. Thirty years ago the company’s recording
equipment would easily fit into the boot of a car exploring
its Scandinavian neighbourhood. Nowadays we fly half a ton of machinery to
concert halls in Singapore and São Paulo, to a church in the English countryside,
a student chapel in Kobe or to Lahti’s superb all-wood Sibelius Hall.
“When we decided to continue recording our ongoing series of Bach Cantatas for release
on SACD instead of CD, Masaaki Suzuki, founder and leader of the renowned Bach
Collegium Japan (BCJ) was astonished how clearly the acoustic of the Shoin Chapel
in Kobe was reproduced by our first new RME Octamic D microphone preamplifier and
A/D converters.”
www.bis.se
ADI-4 DD
Converters
Digital <> Digital
8-Channel 96 kHz
AES/EBU / ADAT converter
Application examples:
▪▪ AES/EBU frontend for RME’s digital I/O cards (ADAT optical I/O)
▪▪ Serves as 8-Channel AES and ADAT I/O for all digital mixing desks with ADAT or AES ports
▪▪ Allows to operate up to 4 SPDIF or AES devices
▪▪ Converts between AES-3, SPDIF and SPDIF optical
▪▪ Removes jitter from AES-3 and ADAT signals
Specifications
▪▪ Input AES/EBU: 1 x XLR, 4 x via DB-25 connector, tranformer balanced, highly sensitive input stage (< 0.3 Vpp), SPDIF compatible
▪▪ Output AES/EBU: 1 x XLR, 4 x via DB-25 connector, transformer balanced, 5 Vpp
▪▪ Input ADAT optical: 2 x TOSLINK, 24-bit, Bitclock PLL
▪▪ Output ADAT optical: 2 x TOSLINK, 24-bit
▪▪ SPDIF Optical: Second ADAT port can be switched to serve as SPDIF I/O
▪▪ Input word clock: BNC, Signal Adaptation Circuit (functional from 1.2 Vpp input signal)
▪▪ Output word clock: BNC, low-impedance driver stage, 4 Vpp into 75 Ohms, short-circuit-proof
▪▪ Sync sources: ADAT optical, AES/EBU, word clock
▪▪ Varipitch: by input signal or word clock
▪▪ Sample rates: 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, variable (Sync/word clock)
▪▪ Sample rate range: AES, word clock: 27 kHz-105 kHz, ADAT 33 kHz - 57 kHz
▪▪ Jitter: Internal clock < 1 ns, word clock In < 2 ns, ADAT In < 2 ns
▪▪ Jitter sensitivity: all PLLs operate even at 100 ns Jitter without problems
▪▪ Jitter suppression: > 30 dB (2.4 kHz)
I/O Connectivity
RME‘s ADI-4 DD is a cost-efficient AES to ADAT and ADAT to AES converter. Support for
up to 96 kHz and built-in jitter suppression is just two of several outstanding features.
▪▪ High-quality switching power supply: Operates with voltages ranging from 7-30V DC oder AC, allowing operation with practically any
power source, including batteries, for worldwide operation at 100-240 Volt
Built into a space-saving half-rack enclosure the ADI-4 DD features a lot of the advanced
4 x AES/EBU I/O (1 x XLR, D-sub)
technology of the ADI-192 DD.
2 x ADAT I/O (optical)
The device essentially consists of two converters: four AES/EBU inputs to double ADAT outputs,
1 x SPDIF (optical, instead of the
2nd ADAT I/O)
1 x Word Clock I/O
and double ADAT inputs to four AES/EBU outputs. The double ADAT ports enable full 8 channel
support, from 32 kHz up to 96 kHz (S/MUX). The unit provides one XLR I/O directly. A 25-pin
D-sub connector allows for the use of industry standard AES/EBU I/O breakout cables. Setting
an internal connector easily changes the D-sub 25-pin connector to match the pinout of Tascam
(Digidesign), Yamaha and Euphonix cables. The AES output signal can be set to Professional or
Consumer subcode. Channel 1/2 can also be received and output optically (TOSLINK).
All in all the ADI-4 DD shows an
LEDs of different colours clearly display the status of incoming and outgoing signals as well as of
unsurpassed flexibility together
internal operations.
with a sensational price point. It
SyncCheck® not only shows the locking status of an input signal, but also the synchronicity of
is a perfect interface solution in
multiple inputs. Furthermore RME‘s SyncAlign™ technology prevents accidental misalignment
all areas, from the advanced
errors of ± 1 sample between the AES/EBU inputs.
studio work up to broadcast
RME‘s SteadyClock™ technology guarantees an excellent performance in all clock modes. Its
applications.
highly efficient jitter suppression enables the ADI-4 DD to refresh and clean up any clock signal,
and to provide the incoming clock signal as reference clock at its word clock output. Additionally,
38
Intelligent Clock Control (ICC) will maintain the last sample rate detected as valid in case of fault
and loss of the input signal.
The device can be stacked without limit. All devices will be sample synchronous by using word
clock. All settings are stored at power-off.
TRITONUS
3 x Grammy 2010: Best Classical Album, Best Engineered Album,
Best Choral Performance for GUSTAV MAHLER Symphony No. VIII.
San Francisco Symphony with Michael Tilson Thomas and SFS
MediaMay 2008: Kraftwerk co-headlined the prestigious Coachella
Festival in Palm Springs, together with Prince and Portishead.
And again on stage they were using the proven combination of
RME Multifaces and Cardbus Systems for their Live Performance.
The performance was recorded with 54 channels AD on RME
converters (ADI-8 QS and ADI-8).
The Tritonus Musikproduktion GmbH was founded in July, 1987. The idea behind it was to offer recordings of the highest quality
possible in the field of classical music. The sole use of the most modern sound studio technology and its conscientious utilization
for sound balance were the prerequisites for obtaining this goal. An intrinsic part of this system is the selection of appropriate
recording locations with excellent acoustics. The versatile recording equipment can be easily transported and employed at all
domestic and foreign locations. The success of excellent recordings is, however, not only due to these technical aspects.
www.tritonus.com
Contents
USB & FireWire
PCI Express Cards
PCI Cards
Preamps
Converters
Fireface X-Series
2
Fireface UFX
4
Fireface UCX
8
Advanced Remote Control
11
Babyface
12
Fireface 800
14
Fireface UC
16
HDSPe RayDAT
18
HDSPe AIO
20
HDSPe PCI Card
22
HDSPe ExpressCard
22
HDSP PCI
23
HDSP CardBus
23
Multiface II
24
HDSP 9652
26
HDSP 9632
28
HDSP TCO
30
Expansion Boards
31
OctaMic II
32
QuadMic
33
ADI-8 DS
34
ADI-2
36
ADI-4 DD
38
Worldwide Distribution
www.rme-audio.com
Audio AG . Am Pfanderling 60
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Phone: +49 (0)8133 / 918170
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85778 Haimhausen . Germany
Fax: +49 (0)8133 / 9166
E-Mail: info@audioag.com
Internet: www.audioag.com
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© Audio AG 2012
All specifications hereafter are subject to change
without further notice.